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 Singapore and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Jakarta.
I'm losing my edge to the art-school Columbus 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron 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 The Techniques to the disco kids.
I played it at Trash.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam record on German import.
I heard that you have a white label of every seminal grime 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 theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Soul Sonic Force record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
the Slits,
Skriet,
Sight & Sound,
Country Teasers,
Maleditus Sound,
Matthew Halsall,
The Raincoats,
Roxette,
Man Parrish,
The Sonics,
Magazine,
The Pop Group,
Clear Light,
Lalann,
Flash Fearless,
Dennis Brown,
Camouflage,
Avey Tare's Slasher Flicks,
Pussy Galore,
Kerri Chandler,
Mad Mike,
In Retrospect,
Joey Negro,
48th St. Collective,
Rowland S Howard / Lydia Lunch,
KRS-One,
The Walker Brothers,
Girls At Our Best!,
Tubeway Army,
The Dead C,
Larry & the Blue Notes,
Malaria!,
Vainqueur,
Quando Quango,
Amon Düül II,
Alphaville,
The Residents,
The Evens,
The Index,
Sandy B,
Heavy D & The Boyz,
8 Eyed Spy,
Faraquet,
Gastr Del Sol,
Nas,
Barbara Tucker,
Deepchord,
Red Lorry Yellow Lorry,
Marmalade,
The Real Kids,
Lou Reed,
The Men They Couldn't Hang,
Jandek,
Second Layer,
Fort Wilson Riot,
Faust,
Tres Demented,
Newcleus,
Byron Stingily,
Bad Manners,
Donny Hathaway,
Drexciya,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.