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 Benin and from Seoul.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Toronto and Seoul.
I'm losing my edge to the art-school Bologna 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the mellotron 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 Ajijia Myrayebe to the techno kids.
I played it at Cafe Wha.
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 Gladiators. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Crooked Eye record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Tom Boy,
Grandmaster Flash,
Tim Buckley,
The Cramps,
The Cure,
R.M.O.,
Swans,
Letta Mbulu,
Larry & the Blue Notes,
The Flesh Eaters,
Eve St. Jones,
Lower 48,
Beasts of Bourbon,
Sun Ra Arkestra,
Fatback Band,
Harmonia,
Fat Boys,
JFA,
Frankie Knuckles,
The Zeros,
Sunsets and Hearts,
Whodini,
Derrick May,
The New Christs,
The Slackers,
Half Japanese,
The Dead C,
Bobbi Humphrey,
Gary Puckett & The Union Gap,
Thompson Twins,
The Doors,
L. Decosne,
The American Breed,
Crime,
Delon & Dalcan,
Kings Of Tomorrow,
Glenn Branca,
Marvin Gaye,
Symarip,
Eden Ahbez,
Faraquet,
Popol Vuh,
London Community Gospel Choir,
Boogie Down Productions,
Roxy Music,
X-Ray Spex,
Magazine,
The Birthday Party,
Aloha Tigers,
Sight & Sound,
Hashim,
LL Cool J,
Marcia Griffiths,
Y Pants,
Echospace,
the Bar-Kays,
Jesper Dahlback,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.