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 Tunisia and from Hong Kong.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Lyon.
I'm losing my edge to the art-school Glasgow 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the linndrum 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 Tom Boy to the techno 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 The Zeros. All the underground hits.
All Heaven 17 tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal crunk 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 a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Kool G Rap & DJ Polo record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
F. McDonald,
Suicide,
The Moleskins,
Radiopuhelimet,
Flash Fearless,
Liaisons Dangereuses,
Siouxsie and the Banshees,
La Düsseldorf,
Neil Young,
Kaleidoscope,
Wings,
The Sisters of Mercy,
K-Klass,
H. Thieme,
June Days,
Al Stewart,
The Searchers,
Moby Grape,
A Certain Ratio,
The Gap Band,
The Sound,
Nas,
Camouflage,
Bobby Womack,
Laurel Aitken,
Aaron Thompson,
John Foxx,
Average White Band,
Robert Wyatt,
Byron Stingily,
Teenage Jesus and the Jerks,
DeepChord presents Echospace,
Icehouse,
Rod Modell,
Yaz,
Vladislav Delay,
The Skatalites,
World's Most,
Scrapy,
The United States of America,
Pylon,
Spandau Ballet,
Todd Terry,
Mandrill,
Zapp,
Suburban Knight,
Super Lover Cee & Casanova Rud,
Reuben Wilson,
Faust,
Simply Red,
Matthew Halsall,
Dark Day,
The Mummies,
Lucky Dragons,
Technova,
Scientists,
the Slits,
The Doobie Brothers,
David Axelrod,
Ultimate Spinach,
Johnny Osbourne,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
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.