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 Ireland and from New York.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Sao Paulo.
I'm losing my edge to the art-school Taipei 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 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 Hot Snakes to the techno kids.
I played it at the Spitz.
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 Soft Cell. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every Donny Hathaway record on German import.
I heard that you have a white label of every seminal techno 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 an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
Eve St. Jones,
Ten City,
Pete Rock & C.L. Smooth,
Siglo XX,
The Velvet Underground,
The Offenders,
David Axelrod,
Fear,
The Move,
London Community Gospel Choir,
Barrington Levy,
Howard Jones,
Oblivians,
the Germs,
Deakin,
The Cowsills,
Kevin Saunderson,
Public Enemy,
Essential Logic,
It's A Beautiful Day,
The Toasters,
June Days,
Cecil Taylor,
Sun Ra Arkestra,
DJ Sneak,
Lightning Bolt,
Bang on a Can All-Stars,
Jesper Dahlback,
The Count Five,
Section 25,
Absolute Body Control,
Selector Dub Narcotic,
New Order,
Letta Mbulu,
Albert Ayler,
Bob Dylan,
The Raincoats,
Animal Collective,
Bobby Sherman,
Wasted Youth,
Cybotron,
Michelle Simonal,
Judy Mowatt,
Teenage Jesus and the Jerks,
The Blues Magoos,
Hoover,
Tropical Tobacco,
Suburban Knight,
Negative Approach,
Unwound,
The Neon Judgement,
Banda Bassotti,
Wighnomy Brothers & Robag Wruhme,
Newcleus,
Trumans Water,
Saccharine Trust,
Au Pairs,
Agent Orange,
Warren Ellis,
The Flesh Eaters,
Con Funk Shun,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.