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 Macedonia and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Accra and Mumbai.
I'm losing my edge to the art-school Salvador 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 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 June Days to the dance 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 Kerri Chandler. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Cameo record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Agitation Free,
Pharaoh Sanders and the Fire Engines,
Con Funk Shun,
Lebanon Hanover,
The Star Department,
Scott Walker,
Eric Dolphy,
the Swans,
Mantronix,
David McCallum,
Marmalade,
Barbara Tucker,
Whodini,
Roger Hodgson,
Tim Buckley,
Gregory Isaacs,
T. Rex,
Section 25,
The Sisters of Mercy,
The Gap Band,
H. Thieme,
Derrick May,
K-Klass,
Jesper Dahlback,
Kevin Saunderson,
Buzzcocks,
Leonard Cohen,
Babytalk,
Model 500,
Bobby Byrd,
Basic Channel,
Urselle,
Thinking Fellers Union Local 282,
Maleditus Sound,
The Monochrome Set,
The Electric Prunes,
The Names,
Johnny Osbourne,
Jeff Lynne,
Pantaleimon,
La Düsseldorf,
Scrapy,
Little Man,
Soul Sonic Force,
Thompson Twins,
The Walker Brothers,
Brass Construction,
Robert Wyatt,
Sun Ra Arkestra,
Severed Heads,
The Pop Group,
Beasts of Bourbon,
John Coltrane,
Andrew Hill,
Neu!,
Joensuu 1685,
Tears for Fears,
Black Pus,
Dorothy Ashby,
Hasil Adkins,
Crispy Ambulance,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.