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 Burkina and from Lyon.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school Manila 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 at the first Suicide practice in a loft in New York.
I was working on the linndrum 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 Gang Gang Dance to the disco kids.
I played it at the 40 Watt.
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 Bronski Beat. All the underground hits.
All The Blues Magoos tracks. I heard you have a vinyl of every Lakeside record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rahsaan Roland Kirk record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Funky Four + One,
Avey Tare's Slasher Flicks,
Maurizio,
The Neon Judgement,
The Victims,
Brothers Johnson,
Grandmaster Flash,
Lalo Schifrin,
Aural Exciters,
The Mojo Men,
Soulsonic Force,
Severed Heads,
The Grass Roots,
Sexual Harrassment,
Ornette Coleman,
Von Mondo,
Junior Murvin,
X-Ray Spex,
The Offenders,
Symarip,
Magma,
Mission of Burma,
Juan Atkins,
The Pretty Things,
Donny Hathaway,
Pierre Henry,
Spandau Ballet,
Lee Hazlewood,
Smog,
cv313,
Eurythmics,
The J.B.'s,
The Sound,
L. Decosne,
Television Personalities,
Oppenheimer Analysis,
Robert Görl,
Pole,
Röyhkä ja Rättö ja Lehtisalo,
The Divine Comedy,
The Smoke,
Flamin' Groovies,
Mary Jane Girls,
Sun Ra Arkestra,
Dorothy Ashby,
Pagans,
Ohio Players,
Lower 48,
Bang on a Can All-Stars,
Stiv Bators,
Lightning Bolt,
Simply Red,
Tears for Fears,
The United States of America,
Wally Richardson,
Freddie Wadling,
Boredoms,
Girls At Our Best!,
Funkadelic,
Harpers Bizarre,
Liaisons Dangereuses,
Lungfish,
Dark Day, Dark Day, Dark Day, Dark Day.
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.