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 Bolivia and from Taipei.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 Mexico City and Lille.
I'm losing my edge to the art-school Mexico City 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 Heaven 17 to the punk kids.
I played it at the 40 Watt.
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 Super Lover Cee & Casanova Rud. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Sixth Finger 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Barracudas,
Manfred Mann's Earth Band,
The Chocolate Watch Band,
Deutsch Amerikanische Freundschaft,
Livin' Joy,
Eden Ahbez,
Liaisons Dangereuses,
Crooked Eye,
The Fall,
The Invisible,
Sister Nancy,
Surgeon,
Donald Byrd,
Neil Young,
Lightning Bolt,
Dorothy Ashby,
Sandy B,
Derrick May,
Strawberry Alarm Clock,
Toni Rubio,
Marine Girls,
These Immortal Souls,
Dave Gahan,
Terry Callier,
Oneida,
Ituana,
Con Funk Shun,
Erasure,
Jacques Brel,
Neu!,
Mandrill,
Lou Reed,
Sexual Harrassment,
Curtis Mayfield,
Tom Boy,
Mark Hollis,
Sight & Sound,
The Happenings,
Wire,
Khruangbin,
Lucky Dragons,
EPMD,
Banda Bassotti,
The Leaves,
ABBA,
The Kinks,
Make Up,
Second Layer,
La Düsseldorf,
Todd Terry,
Scratch Acid,
Ornette Coleman,
The Blackbyrds,
Sly & The Family Stone,
Sunsets and Hearts,
Fifty Foot Hose,
Jerry Gold Smith,
Roxy Music,
Skaos,
The Searchers,
Bootsy Collins,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.