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 Colombia and from Philadelphia.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Columbus and Bologna.
I'm losing my edge to the art-school New York 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 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 Television to the jazz kids.
I played it at the Crocodile.
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 Selecter. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every The Smiths 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
Jesper Dahlback,
Notorious BIG live in Amsterdam,
Kango’s Stein Massive,
Delta 5,
Depeche Mode,
Deutsch Amerikanische Freundschaft,
the Association,
Toni Rubio,
Flash Fearless,
Lizzy Mercier Descloux,
Lungfish,
Eden Ahbez,
Danielle Patucci,
Prince Buster,
Bizarre Inc.,
Judy Mowatt,
Minor Threat,
Mark Hollis,
Gian Franco Pienzio,
Black Pus,
Godley & Creme,
Eve St. Jones,
Can,
Ossler,
Teenage Jesus and the Jerks,
Rhythm & Sound,
Jesper Dahlbäck,
E-Dancer,
L. Decosne,
Icehouse,
Con Funk Shun,
The Fuzztones,
Nick Cave & The Bad Seeds,
The Jesus and Mary Chain,
The West Coast Pop Art Experimental Band,
A Certain Ratio,
Avey Tare,
Sparks,
Pantytec,
Cybotron,
Cluster,
Sight & Sound,
Sam Rivers,
Newcleus,
X-101,
Sällskapet,
Davy DMX,
Major Organ And The Adding Machine,
Intrusion,
Terrestrial Tones,
Crispian St. Peters,
Dual Sessions,
Khruangbin,
8 Eyed Spy,
Animal Collective,
Wally Richardson,
The Fortunes,
PIL,
Bang on a Can All-Stars,
Brass Construction,
Gastr Del Sol,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.