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 Spain and from Calgary.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Hong Kong.
I'm losing my edge to the art-school Lille 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 organ sounds with much patience.
I was there when Captain Beefheart 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 Danielle Patucci to the electroclash kids.
I played it at the Astoria.
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 Sonics. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every Mantronix record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield 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?
Mark Hollis,
Notorious Big And Bone Thugs,
Brick,
Kayak,
Be Bop Deluxe,
Young Marble Giants,
Eyeless In Gaza,
Negative Approach,
Little Man,
Althea and Donna,
Kool G Rap & DJ Polo,
Larry & the Blue Notes,
Nick Fraelich,
The Fortunes,
Juan Atkins,
Bush Tetras,
Gastr Del Sol,
Bauhaus,
The Dave Clark Five,
The Index,
Los Fastidios,
Ultravox,
Gang of Four,
Gary Puckett & The Union Gap,
Eric Dolphy,
Technova,
FM Einheit,
Girls At Our Best!,
Maleditus Sound,
Neu!,
Q and Not U,
Tears for Fears,
Man Eating Sloth,
The Peanut Butter Conspiracy,
Jacques Brel,
Max Romeo,
Fatback Band,
Robert Hood,
The Real Kids,
Outsiders,
Lungfish,
Derrick May,
The Zeros,
Fifty Foot Hose,
Japan,
Marc Romboy vs. Booka Shade,
Nirvana,
The Associates,
Monks,
Index,
Kerrie Biddell,
De La Soul & Jungle Brothers,
Popol Vuh,
David McCallum,
Stiv Bators,
The Vogues,
Oneida,
LL Cool J,
The Cowsills,
Interpol,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
MDC,
Black Moon, Black Moon, Black Moon, Black Moon.
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.