Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Iceland and from Manila.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1970.
I'm losing my edge.
To all the kids in Manchester and Paris.
I'm losing my edge to the art-school Paris kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1968 at the first Bowie practice in a loft in Bromley.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Sun City Girls to the techno kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Johnny Clarke. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every The Zeros record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
James White and The Blacks,
Marc Almond,
Nils Olav,
Television Personalities,
The Flesh Eaters,
Grandmaster Flash,
Sällskapet,
Swell Maps,
Crispy Ambulance,
Darondo,
Gichy Dan,
Make Up,
Gong,
The United States of America,
Lonnie Liston Smith,
Todd Rundgren,
Black Bananas,
Tim Buckley,
Delon & Dalcan,
Andrew Hill,
D'Angelo,
Kool G Rap & DJ Polo,
Jawbox,
F. McDonald,
Das Ding,
Notorious BIG live in Amsterdam,
Vladislav Delay,
Monks,
Maurizio,
Donny Hathaway,
The Jesus and Mary Chain,
Sun Ra,
Buzzcocks,
Arcadia,
Alice Coltrane,
Kas Product,
Röyhkä ja Rättö ja Lehtisalo,
Dawn Penn,
Warsaw,
The Saints,
Oppenheimer Analysis,
Main Source,
Robert Wyatt,
LL Cool J,
Sam Rivers,
Marc Romboy vs. Booka Shade,
Porter Ricks,
Ten City,
JFA,
Can,
Rod Modell,
The Dave Clark Five,
Stetsasonic,
Clear Light,
New Order,
Dark Day,
Radio Birdman,
Cecil Taylor,
Los Fastidios,
The Stooges,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.