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 St Lucia and from Beijing.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 Salvador and London.
I'm losing my edge to the art-school Bremen 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 1976 at the first Chic practice in a loft in New York.
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 OOIOO to the electroclash kids.
I played it at the Astoria.
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 Red Lorry Yellow Lorry. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pantytec record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Deutsch Amerikanische Freundschaft,
The Five Americans,
The Motions,
The Chocolate Watch Band,
Todd Terry,
AZ,
Sällskapet,
Young Marble Giants,
Accadde A,
Jesper Dahlbäck,
Warsaw,
Cymande,
The Walker Brothers,
Lonnie Liston Smith,
Fad Gadget,
The Electric Prunes,
Rosa Yemen,
Bill Near,
The Cure,
Altered Images,
Alison Limerick,
Barclay James Harvest,
Q and Not U,
R.M.O.,
Bronski Beat,
Blossom Toes,
F. McDonald,
Terry Callier,
Marine Girls,
Motorama,
Scion,
Grandmaster Flash and the Furious Five,
Rahsaan Roland Kirk,
Fifty Foot Hose,
Notorious Big And Bone Thugs,
Nirvana,
Sixth Finger,
Goldenarms,
Suicide,
Bizarre Inc.,
John Cale,
Thinking Fellers Union Local 282,
X-101,
Lightning Bolt,
The Red Krayola,
Deepchord,
Tim Buckley,
The Trojans,
Slave,
Mr. Review,
Fluxion,
Alton Ellis,
Khruangbin,
Easy Going,
Jimmy McGriff,
Stetsasonic,
Infiniti,
Moby Grape,
Wally Richardson,
Pere Ubu,
Oneida, Oneida, Oneida, Oneida.
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.