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 Haiti and from Sao Paulo.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Halifax and Taipei.
I'm losing my edge to the art-school Shanghai 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 1978 at the first Visage practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Bang on a Can All-Stars 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 John Lydon. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every The Toasters record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
Siglo XX,
Kerri Chandler,
The Durutti Column,
The West Coast Pop Art Experimental Band,
Terror Squad Feat. Camron,
Kool Moe Dee,
Liaisons Dangereuses,
10cc,
Matthew Halsall,
Freddie Wadling,
Tres Demented,
Pharoah Sanders,
The Doors,
Lee Hazlewood,
UT,
Eurythmics,
Echospace,
Kurtis Blow,
Fluxion,
Lalo Schifrin,
Maleditus Sound,
Interpol,
Kauko Röyhkä ja Narttu,
The Zeros,
Röyhkä ja Rättö ja Lehtisalo,
The Velvet Underground,
David Axelrod,
Marmalade,
Kings Of Tomorrow,
Eyeless In Gaza,
Nick Fraelich,
The Slits,
Anakelly,
Lakeside,
The Grass Roots,
Quantec,
Morten Harket,
Junior Murvin,
The Fortunes,
Audionom,
Alphaville,
Grandmaster Flash and the Furious Five,
Black Sheep,
X-102,
The Fire Engines,
Sparks,
The Fuzztones,
Visionaries,LMNO, T- Love & Iriscience,
One Last Wish,
Unrelated Segments,
Byron Stingily,
Rod Modell,
H. Thieme,
FM Einheit,
Ash Ra Tempel,
Grandmaster Flash,
Model 500,
Rowland S Howard / Lydia Lunch,
Darondo,
Scientists,
Gil Scott-Heron and Jamie xx,
Echo & the Bunnymen,
Deepchord, Deepchord, Deepchord, Deepchord.
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.