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 Madagascar and from Milan.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1971.
I'm losing my edge.
To all the kids in Bremen and Calgary.
I'm losing my edge to the art-school Salvador 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 1984 at the first Arcadia practice in a loft in London.
I was working on the guitar 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 The United States of America to the grime kids.
I played it at Trash.
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 Selector Dub Narcotic. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Aloha Tigers 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?
Sly & The Family Stone,
Gil Scott-Heron and Jamie xx,
Wolf Eyes,
Cybotron,
Richard Hell and the Voidoids,
Rekid,
Lyres,
The Velvet Underground,
Television Personalities,
Notorious Big And Bone Thugs,
Radiopuhelimet,
X-101,
Ultimate Spinach,
Grandmaster Flash,
Jerry's Kids,
Lou Reed,
Captain Beefheart & His Magic Band,
Rahsaan Roland Kirk,
Leonard Cohen,
Glambeats Corp.,
Kaleidoscope,
Grandmaster Flash and the Furious Five,
Procol Harum,
June of 44,
Faraquet,
Albert Ayler,
Gary Puckett & The Union Gap,
Bronski Beat,
Marshall Jefferson,
Delta 5,
John Holt,
Jeff Mills,
Banda Bassotti,
Amazonics,
Clear Light,
The Modern Lovers,
Parry Music,
The Neon Judgement,
Chris Corsano,
Masters at Work,
The Barracudas,
Jesper Dahlbäck,
The Wake,
Andrew Hill,
Eden Ahbez,
The Dirtbombs,
The Trojans,
Eurythmics,
Black Flag,
The Misunderstood,
Gastr Del Sol,
The Red Krayola,
Minutemen,
Desert Stars,
Bluetip,
Arcadia,
Flash Fearless,
FM Einheit,
Urselle,
Maurizio,
The Names,
James White and The Blacks,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.