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 the UAE and from Portland.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1976.
I'm losing my edge.
To all the kids in Manila and Woodstock.
I'm losing my edge to the art-school Sao Paulo 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar 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 New York Dolls 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 Amazonics. All the underground hits.
All Technova tracks. I heard you have a vinyl of every The Monochrome Set 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Pere Ubu,
The Blues Magoos,
Eurythmics,
Beasts of Bourbon,
Qualms,
Derrick Morgan,
A Flock of Seagulls,
Tropical Tobacco,
Masters at Work,
Grauzone,
Supertramp,
Nick Cave & The Bad Seeds,
Scientists,
Minutemen,
Black Pus,
Gil Scott Heron,
D'Angelo,
Alton Ellis,
Eli Mardock,
Avey Tare's Slasher Flicks,
Fort Wilson Riot,
Graham Central Station,
Stetsasonic,
Lungfish,
T. Rex,
The Evens,
Eddi Front,
Harpers Bizarre,
Minny Pops,
Ultravox,
Bobby Hutcherson,
X-101,
Country Teasers,
The Flesh Eaters,
The Busters,
Röyhkä ja Rättö ja Lehtisalo,
In Retrospect,
Selector Dub Narcotic,
the Slits,
It's A Beautiful Day,
Public Enemy,
Q and Not U,
Amazonics,
Pylon,
ABBA,
Warren Ellis,
Sällskapet,
Fad Gadget,
Notorious BIG live in Amsterdam,
Lightning Bolt,
ABC,
Suburban Knight,
Eve St. Jones,
Sex Pistols,
Gerry Rafferty,
Public Image Ltd.,
Bush Tetras,
Magazine,
Gil Scott-Heron & Brian Jackson,
Big Daddy Kane,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.