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 Ecuador and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Taipei and Mumbai.
I'm losing my edge to the art-school Toronto 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 The Offenders to the funk kids.
I played it at the Spitz.
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 Man Eating Sloth. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every Steve Hackett record on German import.
I heard that you have a white label of every seminal punk 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 marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
Circle Jerks,
Can,
Blake Baxter,
Hot Snakes,
Blossom Toes,
Crispian St. Peters,
Robert Hood,
Lower 48,
The Kinks,
Ultra Naté,
Fort Wilson Riot,
Zero Boys,
MDC,
Talk Talk,
Crooked Eye,
The Monks,
Mantronix,
Pierre Henry,
Kayak,
Bobby Hutcherson,
Lizzy Mercier Descloux,
Joyce Sims,
The Velvet Underground,
The Stooges,
Metal Thangz,
Moss Icon,
The Wake,
Echospace,
Nick Cave & The Bad Seeds,
Susan Cadogan,
Byron Stingily,
Patti Smith,
Jeff Mills,
Ten City,
Heaven 17,
Super Lover Cee & Casanova Rud,
a-ha,
Minor Threat,
Mary Jane Girls,
Henry Cow,
Deepchord,
Robert Görl,
James Chance & The Contortions,
Jandek,
H. Thieme,
Ken Boothe,
R.M.O.,
Kevin Saunderson,
Country Joe & The Fish,
Yellowson,
Los Fastidios,
Eden Ahbez,
Bobby Sherman,
Vaughan Mason & Crew,
Amazonics,
Warsaw,
X-102,
Television,
Gabor Szabo,
DJ Style,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.