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 Somalia and from New York.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Tehran.
I'm losing my edge to the art-school Mexico City 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 arpeggiator 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 The Martian to the grime kids.
I played it at CBGB's.
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 Scott Walker + Sunn O))). All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Jandek 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 an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators 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?
Grandmaster Flash,
Malaria!,
Juan Atkins,
Panda Bear,
Stetsasonic,
Gabor Szabo,
The Seeds,
The Men They Couldn't Hang,
Pole,
Main Source,
Sun Ra,
Beasts of Bourbon,
Orchestral Manoeuvres in the Dark,
OOIOO,
Black Moon,
Liliput,
Pere Ubu,
Eurythmics,
Lou Reed & Metallica,
Radio Birdman,
Marc Romboy vs. Booka Shade,
The Skatalites,
Aloha Tigers,
Rhythm & Sound,
Richard Hell and the Voidoids,
Andrew Hill,
Yellowson,
Cybotron,
Gang of Four,
A Flock of Seagulls,
Mr. Review,
Hoover,
The Monochrome Set,
The Music Machine,
PIL,
Sticky Fingaz feat. Raekwon,
Pet Shop Boys,
The Neon Judgement,
Barclay James Harvest,
B.T. Express,
Sister Nancy,
Larry & the Blue Notes,
AZ,
K-Klass,
Reagan Youth,
The Velvet Underground,
Gerry Rafferty,
Pagans,
Animal Collective,
Spandau Ballet,
The West Coast Pop Art Experimental Band,
Lafayette Afro Rock Band,
Theoretical Girls,
Wings,
Sarah Menescal,
Hasil Adkins,
Oneida,
Depeche Mode,
Bush Tetras,
Röyhkä ja Rättö ja Lehtisalo,
Heavy D & The Boyz,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.