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 Indonesia and from Milan.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Seoul and Calgary.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the sitar 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 Neil Young & Crazy Horse to the grime 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 the Soft Cell. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Mary Jane Girls record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
F. McDonald,
Matthew Bourne,
Kool G Rap & DJ Polo,
Ralphi Rosario,
Warren Ellis,
The Raincoats,
Make Up,
These Immortal Souls,
Country Teasers,
Soul II Soul,
The Flesh Eaters,
Electric Prunes,
Mark Hollis,
Rosa Yemen,
Accadde A,
Skaos,
Amon Düül II,
The Gories,
the Soft Cell,
R.M.O.,
Symarip,
Agitation Free,
Icehouse,
Strawberry Alarm Clock,
Todd Terry,
Essential Logic,
Fluxion,
Radiohead,
Bizarre Inc.,
the Slits,
Ossler,
The Peanut Butter Conspiracy,
Audionom,
Rekid,
Lonnie Liston Smith,
The Men They Couldn't Hang,
Soft Machine,
The Buckinghams,
Robert Hood,
The Happenings,
The Black Dice,
Marvin Gaye,
Panda Bear,
Rhythim Is Rhythim,
The Litter,
Gil Scott-Heron & Brian Jackson,
Urselle,
H. Thieme,
Archie Shepp,
The Sound,
The Skatalites,
Letta Mbulu,
Parry Music,
Pulsallama,
Monolake,
Television,
Babytalk,
Sun Ra Arkestra,
Skriet, Skriet, Skriet, Skriet.
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.