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 Colombia and from Lille.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1968 to 1973.
I'm losing my edge.
To all the kids in Beijing and Hong Kong.
I'm losing my edge to the art-school Lagos 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 Skriet to the jazz kids.
I played it at the Crocodile.
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 Marshall Jefferson. All the underground hits.
All Ultimate Spinach tracks. I heard you have a vinyl of every X-102 record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your guitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
The Grass Roots,
London Community Gospel Choir,
Avey Tare's Slasher Flicks,
The Five Americans,
Oppenheimer Analysis,
The Dead C,
Ohio Players,
Grandmaster Flash and the Furious Five,
Lower 48,
Joe Smooth,
Adolescents,
The Star Department,
Chris & Cosey,
Ultravox,
Ajijia Myrayebe,
Pantaleimon,
Alice Coltrane,
Eurythmics,
Funkadelic,
Amon Düül,
Stereo Dub,
Alison Limerick,
Eric Dolphy,
Cluster,
The Skatalites,
Colin Newman,
Roxy Music,
Kenny Larkin,
Skarface,
Byron Stingily,
The Golliwogs,
Interpol,
Duran Duran,
Spoonie Gee,
Ituana,
Selector Dub Narcotic,
Howard Jones,
Rahsaan Roland Kirk,
Lebanon Hanover,
AZ,
Youth Brigade,
Judy Mowatt,
Country Teasers,
Bobby Sherman,
Heavy D & The Boyz,
Rod Modell,
De La Soul & Jungle Brothers,
Von Mondo,
Mandrill,
Goldenarms,
New Order,
Eric Copeland,
Excepter,
Notorious BIG live in Amsterdam,
Big Daddy Kane,
The Index,
Grandmaster Flash,
The Music Machine,
Pharaoh Sanders and the Fire Engines,
The Last Poets,
Roxette, Roxette, Roxette, Roxette.
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.