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 Dominican Republic and from Bologna.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Halifax and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 1968 at the first Bowie practice in a loft in Bromley.
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 Stockholm Monsters to the punk kids.
I played it at the Crocodile.
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 James White and The Blacks. All the underground hits.
All Visage tracks. I heard you have a vinyl of every Man Eating Sloth record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
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 The Offenders record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
Scratch Acid,
Barrington Levy,
Oneida,
Faust,
The Residents,
Wasted Youth,
Mary Jane Girls,
cv313,
Whodini,
Accadde A,
Tubeway Army,
Sonny Sharrock,
Gang Starr,
The Golliwogs,
Livin' Joy,
Danielle Patucci,
Sarah Menescal,
Juan Atkins,
Cymande,
The American Breed,
Lou Reed & Metallica,
Gil Scott-Heron and Jamie xx,
Kerri Chandler,
Prince Buster,
Lungfish,
Lalann,
Groovy Waters,
The Kinks,
Graham Central Station,
Howard Jones,
Wighnomy Brothers & Robag Wruhme,
Al Stewart,
Aloha Tigers,
Marcia Griffiths,
DNA,
Maleditus Sound,
CMW,
Slave,
Mark Hollis,
Tim Buckley,
the Soft Cell,
Porter Ricks,
The Monochrome Set,
Delta 5,
Ralphi Rosario,
Goldenarms,
Aural Exciters,
The Blues Magoos,
EPMD,
Drive Like Jehu,
Quantec,
Brothers Johnson,
Procol Harum,
Soulsonic Force,
Gian Franco Pienzio,
Hasil Adkins,
Avey Tare,
The Moody Blues,
Notorious BIG live in Amsterdam,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.