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 Afghanistan and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Tokyo and Bremen.
I'm losing my edge to the art-school Madrid 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 harpsichord 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 The Tremeloes to the rap kids.
I played it at the Astoria.
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 Magma. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every Ultramagnetic MC's record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
Au Pairs,
Inner City,
Delon & Dalcan,
The Walker Brothers,
Glenn Branca,
Eric Copeland,
Harry Pussy,
Main Source,
Supertramp,
PIL,
Kango’s Stein Massive,
Kenny Larkin,
Hoover,
Kerrie Biddell,
The Fugs,
Skriet,
Alison Limerick,
The Real Kids,
The Cramps,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
FM Einheit,
Archie Shepp,
Lalann,
Arab on Radar,
Man Parrish,
Roxette,
Bush Tetras,
DJ Style,
The United States of America,
Quando Quango,
KRS-One,
Yaz,
Rosa Yemen,
Howard Jones,
F. McDonald,
Art Ensemble Of Chicago,
Q65,
Bauhaus,
Arcadia,
Graham Central Station,
The Pop Group,
Minny Pops,
L. Decosne,
Fort Wilson Riot,
The American Breed,
Underground Resistance,
Excepter,
Lafayette Afro Rock Band,
The Cosmic Jokers,
Khruangbin,
Electric Light Orchestra,
Flash Fearless,
Black Moon,
The Tremeloes,
Marc Almond,
Siglo XX,
the Normal,
Beasts of Bourbon,
Mantronix,
Robert Wyatt,
T.S.O.L.,
Iggy Pop, Iggy Pop, Iggy Pop, Iggy Pop.
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.