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 Fiji 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 1967 to 1972.
I'm losing my edge.
To all the kids in Lyon and Milan.
I'm losing my edge to the art-school Manchester 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator 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 Little Man to the rock kids.
I played it at the Spitz.
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 Mojo Men. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Don Cherry 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Hashim,
The Neon Judgement,
The Royal Family And The Poor,
Eddi Front,
Slave,
Technova,
Jesper Dahlbäck,
Boredoms,
Heavy D & The Boyz,
Monolake,
Shuggie Otis,
Scan 7,
Iggy Pop,
Jeff Mills,
Harry Pussy,
Saccharine Trust,
Altered Images,
Animal Collective,
Gang Starr,
The Cure,
Fifty Foot Hose,
Derrick May,
Spandau Ballet,
Lalo Schifrin,
Kauko Röyhkä ja Narttu,
Peter Gordon & Love of Life Orchestra,
Symarip,
Ituana,
The Cramps,
Robert Görl,
Dark Day,
The United States of America,
Vladislav Delay,
Röyhkä ja Rättö ja Lehtisalo,
The Selecter,
Underground Resistance,
Magma,
Jacques Brel,
Blancmange,
Angels of Light & Akron/Family,
Deutsch Amerikanische Freundschaft,
Terrestrial Tones,
Quadrant,
Lungfish,
The Sonics,
U.S. Maple,
Jeru the Damaja,
Avey Tare,
Lalann,
Main Source,
Loose Ends,
Terror Squad Feat. Camron,
the Germs,
Joensuu 1685,
Camouflage,
Eric Copeland,
Ten City,
Yellowson,
Masters at Work,
R.M.O., R.M.O., R.M.O., R.M.O..
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.