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 Malta and from Woodstock.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1976.
I'm losing my edge.
To all the kids in Hong Kong and Milan.
I'm losing my edge to the art-school Manila 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 marimba 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 Swell Maps to the electroclash 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 Curtis Mayfield. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every Lebanon Hanover record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Slave,
The Slackers,
Bush Tetras,
T. Rex,
Tropical Tobacco,
New Age Steppers,
Sunsets and Hearts,
Stereo Dub,
Guru Guru,
Lalann,
Toni Rubio,
Matthew Bourne,
the Swans,
Zero Boys,
The Victims,
Angels of Light & Akron/Family,
Cecil Taylor,
Bill Wells,
Grandmaster Flash and the Furious Five,
June of 44,
Jeff Lynne,
Rod Modell,
Anakelly,
Animal Collective,
Henry Cow,
Moss Icon,
Scratch Acid,
Hasil Adkins,
Pagans,
Electric Prunes,
The Happenings,
Eric Copeland,
Oneida,
Soul II Soul,
Camouflage,
Kerrie Biddell,
Eurythmics,
Marc Romboy vs. Booka Shade,
The Jesus and Mary Chain,
The Cosmic Jokers,
Dual Sessions,
These Immortal Souls,
kango's stein massive,
Accadde A,
Gil Scott Heron,
The Doobie Brothers,
The Motions,
Black Pus,
Terrestrial Tones,
Black Sheep,
Goldenarms,
Mars,
One Last Wish,
Excepter,
The Dirtbombs,
Royal Trux,
Iggy Pop,
Liaisons Dangereuses,
Lucky Dragons,
Louis and Bebe Barron,
Röyhkä ja Rättö ja Lehtisalo,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.