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 San Marino and from Portland.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Stockholm.
I'm losing my edge to the art-school Johannesburg 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Gil Scott Heron to the disco kids.
I played it at CBGB's.
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 Minnie Riperton. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Duran Duran 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
T.S.O.L.,
Jacques Brel,
Colin Newman,
John Lydon,
Moby Grape,
June of 44,
Teenage Jesus and the Jerks,
These Immortal Souls,
Joy Division,
David Bowie,
Boz Scaggs,
The Offenders,
Grandmaster Flash,
Anakelly,
The Velvet Underground,
L. Decosne,
Whodini,
the Association,
The Neon Judgement,
Tears for Fears,
Patti Smith,
Marine Girls,
Sister Nancy,
Eddi Front,
X-Ray Spex,
Sonny Sharrock,
Laurel Aitken,
Cal Tjader,
Hardrive,
Curtis Mayfield,
Lou Reed & John Cale,
Art Ensemble Of Chicago,
Spandau Ballet,
The Gap Band,
The Durutti Column,
Negative Approach,
Robert Hood,
The American Breed,
Sarah Menescal,
Lebanon Hanover,
Deutsch Amerikanische Freundschaft,
Peter & Gordon,
Icehouse,
Mandrill,
Fat Boys,
Wighnomy Brothers & Robag Wruhme,
Zapp,
The Men They Couldn't Hang,
Sex Pistols,
Duran Duran,
Jawbox,
Bronski Beat,
Crime,
Big Daddy Kane,
The Remains,
Michelle Simonal,
Sexual Harrassment,
The Jesus and Mary Chain,
Dead Boys,
Ten City,
Lou Reed,
The Evens,
Popol Vuh,
The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers.
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.