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 Liechtenstein and from Mexico City.
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 1975.
I'm losing my edge.
To all the kids in Seoul and Lagos.
I'm losing my edge to the art-school Madrid 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 guitar 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 Morten Harket to the punk kids.
I played it at Trash.
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 Remains. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Angry Samoans record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Todd Rundgren,
Unwound,
Magazine,
Art Ensemble Of Chicago,
Mars,
Sun Ra Arkestra,
Chrome,
Tears for Fears,
Parry Music,
Roy Ayers,
Terry Callier,
Harmonia,
The Remains,
Bob Dylan,
Gary Puckett & The Union Gap,
Saccharine Trust,
Average White Band,
R.M.O.,
Juan Atkins,
the Slits,
Gregory Isaacs,
Kevin Saunderson,
Letta Mbulu,
Flamin' Groovies,
Livin' Joy,
The Barracudas,
A Flock of Seagulls,
The United States of America,
Gang Gang Dance,
Jerry Gold Smith,
Inner City,
Interpol,
Matthew Halsall,
Heaven 17,
Electric Light Orchestra,
The Standells,
Kango’s Stein Massive,
Symarip,
Unrelated Segments,
CMW,
Sonny Sharrock,
Joey Negro,
Half Japanese,
Lalann,
Donny Hathaway,
Sandy B,
New York Dolls,
Newcleus,
Bang On A Can,
Quadrant,
Maurizio,
The Angels of Light,
Lakeside,
The Selecter,
The Fall,
The Fuzztones,
Notorious Big And Bone Thugs,
Nick Cave & The Bad Seeds,
Jacob Miller,
The Stooges,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.