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 Dominica and from Tokyo.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Columbus and Accra.
I'm losing my edge to the art-school Woodstock 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the theremin 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 James Chance & The Contortions to the jazz 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 June of 44. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Agent Orange 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
The Dead C,
Bill Near,
Sound Behaviour,
Amon Düül,
The Gladiators,
Zero Boys,
Barrington Levy,
A Flock of Seagulls,
The Dirtbombs,
Arab on Radar,
The Gap Band,
Notorious Big And Bone Thugs,
Country Joe & The Fish,
Robert Görl,
Rites of Spring,
Public Enemy,
Camron Feat. Jay Z And Juelz,
Bobbi Humphrey,
Franke,
Rosa Yemen,
Morten Harket,
Lou Reed & John Cale,
The Jesus and Mary Chain,
Jeff Lynne,
The Shadows of Knight,
Roxette,
DeepChord presents Echospace,
Quando Quango,
Pylon,
Marine Girls,
The United States of America,
Heaven 17,
Television,
Wasted Youth,
Fat Boys,
The Electric Prunes,
The Invisible,
Anakelly,
Gang Green,
Eyeless In Gaza,
The New Christs,
Tommy Roe,
Alison Limerick,
Scott Walker,
Gil Scott-Heron & Brian Jackson,
Monks,
The Detroit Cobras,
Patti Smith,
10cc,
Richard Hell and the Voidoids,
Freddie Wadling,
The Sonics,
ABC,
Fear,
Ultramagnetic MC's,
Monolake,
This Heat,
The Stooges,
Barclay James Harvest,
Average White Band, Average White Band, Average White Band, Average White Band.
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.