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 Zambia and from Mexico City.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Bremen and Spokane.
I'm losing my edge to the art-school Tehran 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Soft Cell to the punk kids.
I played it at the 40 Watt.
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 Monolake. All the underground hits.
All Fear tracks. I heard you have a vinyl of every Minny Pops 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a New Age Steppers record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Television,
The Men They Couldn't Hang,
Electric Prunes,
Joy Division,
Judy Mowatt,
DeepChord presents Echospace,
The Slits,
The American Breed,
Nation of Ulysses,
Lightning Bolt,
Roy Ayers Ubiquity,
Crispy Ambulance,
T.S.O.L.,
Royal Trux,
Alison Limerick,
Aloha Tigers,
R.M.O.,
Technova,
Interpol,
Lyres,
Gang Starr,
The Buckinghams,
Marc Romboy vs. Booka Shade,
Terrestrial Tones,
Jimmy McGriff,
Kings Of Tomorrow,
Basic Channel,
Tommy Roe,
The Skatalites,
Lindisfarne,
Electric Light Orchestra,
Ten City,
Pussy Galore,
Mary Jane Girls,
Gastr Del Sol,
Curtis Mayfield,
Soft Cell,
Scan 7,
Avey Tare's Slasher Flicks,
David McCallum,
Crash Course in Science,
Rites of Spring,
Kauko Röyhkä ja Narttu,
Jeff Lynne,
the Slits,
Shuggie Otis,
Pole,
B.T. Express,
Black Sheep,
K-Klass,
Rapeman,
Nas,
Steve Hackett,
Isaac Hayes,
Thee Headcoats,
The Associates,
Gabor Szabo,
Bluetip,
Teenage Jesus and the Jerks,
Pantaleimon,
Q and Not U,
The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy.
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.