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 Nauru and from Salvador.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Lyon and Jakarta.
I'm losing my edge to the art-school Seoul 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 1971 at the first Selda practice in a loft in Istanbul.
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 Andrew Hill to the punk kids.
I played it at the Troubador.
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 Intrusion. All the underground hits.
All Lou Reed tracks. I heard you have a vinyl of every Eric B and Rakim record on German import.
I heard that you have a white label of every seminal techno 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 güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Public Image Ltd.,
The Alarm Clocks,
Peter Gordon & Love of Life Orchestra,
Amon Düül,
Johnny Osbourne,
Andrew Hill,
The Stooges,
Sunsets and Hearts,
Dorothy Ashby,
Intrusion,
T.S.O.L.,
Dennis Brown,
Avey Tare's Slasher Flicks,
Magazine,
The Pop Group,
Boogie Down Productions,
Qualms,
Mission of Burma,
Althea and Donna,
Ronnie Foster,
Television Personalities,
The Red Krayola,
Rowland S Howard / Lydia Lunch,
Rotary Connection,
Urselle,
The Doors,
Hasil Adkins,
The Neon Judgement,
Cameo,
Steve Hackett,
Radio Birdman,
The Moody Blues,
Girls At Our Best!,
Parry Music,
Brick,
Peter & Gordon,
Sparks,
Infiniti,
Grandmaster Flash,
Brothers Johnson,
The Black Dice,
Cymande,
Khruangbin,
Jeff Mills,
Hashim,
Country Joe & The Fish,
The Sisters of Mercy,
kango's stein massive,
Quando Quango,
Suicide,
Black Flag,
Eurythmics,
Talk Talk,
New Order,
Dave Gahan,
Organ,
Notorious Big And Bone Thugs,
Silicon Teens,
Gang Green,
The Monks,
Absolute Body Control, Absolute Body Control, Absolute Body Control, Absolute Body Control.
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.