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 Seychelles and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1971.
I'm losing my edge.
To all the kids in Columbus and Glasgow.
I'm losing my edge to the art-school Shanghai 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 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 The Walker Brothers to the grunge kids.
I played it at the Astoria.
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 Royal Trux. All the underground hits.
All Lakeside tracks. I heard you have a vinyl of every Radiopuhelimet record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your güiro and bought an oboe.
I hear that you and your band have sold your oboe and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
Chris Corsano,
The Real Kids,
Nas,
Joey Negro,
The Jesus and Mary Chain,
Pulsallama,
Deepchord,
Lafayette Afro Rock Band,
Bootsy's Rubber Band,
Roger Hodgson,
The Shadows of Knight,
The West Coast Pop Art Experimental Band,
Swell Maps,
Morten Harket,
Hoover,
Lou Christie,
Wally Richardson,
Young Marble Giants,
Saccharine Trust,
Neu!,
Stetsasonic,
The Index,
Chris & Cosey,
Colin Newman,
Marmalade,
The Five Americans,
Pantaleimon,
The Monks,
Vladislav Delay,
Mandrill,
Quantec,
Cal Tjader,
Aaron Thompson,
Crime,
E-Dancer,
It's A Beautiful Day,
Ultra Naté,
CMW,
The Gories,
Con Funk Shun,
Trumans Water,
Minutemen,
Banda Bassotti,
Mad Mike,
Bad Manners,
Scientists,
Sunsets and Hearts,
Gil Scott Heron,
Subhumans,
Black Sheep,
Stockholm Monsters,
Fort Wilson Riot,
Röyhkä ja Rättö ja Lehtisalo,
Sun Ra,
Underground Resistance,
Sandy B,
Kool Moe Dee,
Crooked Eye,
Magma,
Lower 48,
DNA,
Red Lorry Yellow Lorry,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.