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 Afghanistan and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in New York and Manchester.
I'm losing my edge to the art-school Cairo 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Barbara Tucker to the electroclash 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 Gabor Szabo. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Qualms record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
Gong,
The Dead C,
cv313,
Supertramp,
The Neon Judgement,
Drexciya,
Pharoah Sanders,
The Music Machine,
Laurel Aitken,
Pole,
Sad Lovers and Giants,
Young Marble Giants,
Warsaw,
Smog,
Rakim,
Jeff Lynne,
Eve St. Jones,
Lou Reed & John Cale,
Banda Bassotti,
The Golliwogs,
Radiohead,
Lalo Schifrin,
Larry & the Blue Notes,
Funky Four + One,
Rowland S Howard / Lydia Lunch,
L. Decosne,
Janne Schatter,
The Buckinghams,
Joe Finger,
Sun Ra Arkestra,
The Royal Family And The Poor,
Whodini,
Q and Not U,
Shoche,
Thee Headcoats,
Television,
La Düsseldorf,
Ten City,
Gang Gang Dance,
Livin' Joy,
Suicide,
Saccharine Trust,
Warren Ellis,
Glambeats Corp.,
The United States of America,
Angry Samoans,
Heavy D & The Boyz,
Massinfluence,
Grandmaster Flash and the Furious Five,
Rhythim Is Rhythim,
Gang Green,
the Fania All-Stars,
Swell Maps,
The Young Rascals,
Fear,
The Residents,
Bobby Sherman,
Piero Umiliani,
The Vogues,
Chris Corsano,
Gary Puckett & The Union Gap,
Youth Brigade, Youth Brigade, Youth Brigade, Youth Brigade.
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.