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 Bhutan and from Lille.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Lagos and Cairo.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 Hardrive to the rock kids.
I played it at the Roxy.
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 Essential Logic. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Scott Walker + Sunn O))) record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
Arthur Verocai,
London Community Gospel Choir,
Buzzcocks,
Andrew Ashong & Theo Parrish,
ABC,
Albert Ayler,
PIL,
Kurtis Blow,
Darondo,
Ultravox,
The Index,
Alice Coltrane,
Bobby Byrd,
The Cowsills,
the Fania All-Stars,
Gang Gang Dance,
Depeche Mode,
Drexciya,
The Fall,
Blake Baxter,
Freddie Wadling,
Agent Orange,
The Young Rascals,
Marmalade,
Flipper,
The Mojo Men,
Traffic Nightmare,
Essential Logic,
Massinfluence,
Kaleidoscope,
Pet Shop Boys,
Rhythm & Sound,
Jeru the Damaja,
Fela Kuti,
Visage,
Babytalk,
Shuggie Otis,
Mantronix,
Trumans Water,
The Mummies,
Television,
John Coltrane,
Liaisons Dangereuses,
Cluster,
Spandau Ballet,
Pagans,
James Chance & The Contortions,
Minny Pops,
Prince Buster,
Black Sheep,
China Crisis,
The Red Krayola,
The Electric Prunes,
AZ,
Lebanon Hanover,
Unwound,
Sun Ra,
Rhythim Is Rhythim,
The Invisible,
The Knickerbockers,
X-101,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.