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 Spain and from Shanghai.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1979.
I'm losing my edge.
To all the kids in Madrid and Delhi.
I'm losing my edge to the art-school Beijing 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 güiro sounds with much patience.
I was there when Lou Reed 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 Electric Prunes to the crunk 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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Bob Dylan record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
Mary Jane Girls,
Camouflage,
Brick,
James Chance & The Contortions,
Jerry's Kids,
AZ,
The Pop Group,
Yellowson,
Deakin,
June of 44,
Gang Starr,
Brothers Johnson,
Electric Prunes,
Whodini,
Surgeon,
the Slits,
Marvin Gaye,
Man Parrish,
Super Lover Cee & Casanova Rud,
Bang On A Can,
Grandmaster Flash,
Rahsaan Roland Kirk,
Althea and Donna,
Soulsonic Force,
Joy Division,
Selector Dub Narcotic,
Swell Maps,
Marmalade,
Half Japanese,
The Red Krayola,
Arcadia,
Scion,
John Holt,
The Cure,
Zapp,
Neil Young & Crazy Horse,
Curtis Mayfield,
Man Eating Sloth,
Art Ensemble Of Chicago,
Shuggie Otis,
Moby Grape,
Bill Wells,
The Fuzztones,
X-Ray Spex,
Sparks,
Fifty Foot Hose,
Chris & Cosey,
Roxy Music,
Bang on a Can All-Stars,
KRS-One,
Ohio Players,
Isaac Hayes,
Camberwell Now,
The Standells,
The Litter,
Lizzy Mercier Descloux,
Harmonia,
Joyce Sims,
Liliput,
World's Most, World's Most, World's Most, World's Most.
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.