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 Sierra Leone and from Mexico City.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Beijing and Tokyo.
I'm losing my edge to the art-school Lagos 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the clarinet sounds with much patience.
I was there when Robert Palmer 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 Wolf Eyes to the punk kids.
I played it at the Roxy.
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 The Victims. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
KRS-One,
Sam Rivers,
Yellowson,
The Five Americans,
Groovy Waters,
The Gun Club,
Dual Sessions,
Sight & Sound,
The Flesh Eaters,
Glenn Branca,
The Pretty Things,
Camron Feat. Memphis Bleek And Beenie Seigel,
Oppenheimer Analysis,
Barclay James Harvest,
Bill Near,
Erasure,
Siglo XX,
Crash Course in Science,
K-Klass,
Minnie Riperton,
Nik Kershaw,
The Young Rascals,
Ajijia Myrayebe,
MDC,
The Gladiators,
Thee Headcoats,
Eve St. Jones,
Black Bananas,
New York Dolls,
Kurtis Blow,
Tears for Fears,
Sarah Menescal,
The Alarm Clocks,
Bobbi Humphrey,
Spoonie Gee,
Joyce Sims,
Desert Stars,
Charles Mingus,
Nation of Ulysses,
Depeche Mode,
The Names,
The Men They Couldn't Hang,
Urselle,
Major Organ And The Adding Machine,
Bauhaus,
Roger Hodgson,
Skaos,
Stereo Dub,
Radio Birdman,
Barbara Tucker,
Kool G Rap & DJ Polo,
Matthew Bourne,
Notorious Big And Bone Thugs,
Angry Samoans,
June Days,
Chris Corsano,
Scott Walker + Sunn O))),
Trumans Water,
Pylon,
Gil Scott-Heron and Jamie xx,
The Velvet Underground, The Velvet Underground, The Velvet Underground, The Velvet Underground.
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.