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 Seychelles and from Edmonton.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 Shanghai and Toronto.
I'm losing my edge to the art-school Lyon 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Scott Walker to the rock kids.
I played it at Cafe Wha.
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 The Mojo Men. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every Depeche Mode record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Zapp record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Wolf Eyes,
Television,
Susan Cadogan,
Todd Terry,
the Sonics,
Camouflage,
Kayak,
Drive Like Jehu,
Patti Smith,
Joensuu 1685,
Icehouse,
The Pretty Things,
Fluxion,
Nas,
FM Einheit,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Duran Duran,
AZ,
Oblivians,
Jeru the Damaja,
Don Cherry,
Scott Walker,
Arcadia,
The Monks,
Bill Near,
8 Eyed Spy,
Essential Logic,
Bush Tetras,
Easy Going,
Bob Dylan,
Kurtis Blow,
Traffic Nightmare,
Grauzone,
K-Klass,
Vaughan Mason & Crew,
Peter & Gordon,
Larry & the Blue Notes,
Radiohead,
Chrome,
PIL,
Goldenarms,
Magazine,
David McCallum,
F. McDonald,
Graham Central Station,
The Men They Couldn't Hang,
Bobby Womack,
Marmalade,
The Moleskins,
Chris & Cosey,
Tubeway Army,
Scientists,
Sixth Finger,
Infiniti,
Spoonie Gee,
Fear,
Public Image Ltd.,
The Music Machine,
H. Thieme,
Ultramagnetic MC's,
Sun Ra, Sun Ra, Sun Ra, Sun Ra.
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.