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 Netherlands and from Copenhagen.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1967 to 1971.
I'm losing my edge.
To all the kids in Calgary and Bologna.
I'm losing my edge to the art-school Copenhagen 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator 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 Bizarre Inc. to the punk kids.
I played it at Cafe Wha.
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 Vaughan Mason & Crew. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Yaz 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your snare and bought a güiro.
I hear that you and your band have sold your güiro and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Con Funk Shun,
Absolute Body Control,
Steve Hackett,
Captain Beefheart & His Magic Band,
Letta Mbulu,
E-Dancer,
Tomorrow,
Bang on a Can All-Stars,
Marine Girls,
Max Romeo,
Swans,
Sparks,
The Happenings,
X-101,
Nik Kershaw,
The Index,
Public Image Ltd.,
The Doobie Brothers,
Robert Hood,
Warren Ellis,
Talk Talk,
The Shadows of Knight,
Rapeman,
Matthew Bourne,
Mark Hollis,
Flash Fearless,
The Tremeloes,
Black Bananas,
Echospace,
Lebanon Hanover,
Tropical Tobacco,
Electric Prunes,
Davy DMX,
Suburban Knight,
Alton Ellis,
Byron Stingily,
Ash Ra Tempel,
Erasure,
Robert Görl,
Aaron Thompson,
the Normal,
FM Einheit,
Radiohead,
Notorious BIG live in Amsterdam,
Kool G Rap & DJ Polo,
Eve St. Jones,
Radiopuhelimet,
Jeru the Damaja,
Drive Like Jehu,
Marshall Jefferson,
Bill Wells,
Oppenheimer Analysis,
Carl Craig,
Cymande,
Alphaville,
A Certain Ratio,
Cybotron,
The Names,
Fluxion,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.