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 Tonga and from Philadelphia.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Mexico City.
I'm losing my edge to the art-school Beijing 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro 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 Notorious Big And Bone Thugs to the techno kids.
I played it at Trash.
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 Procol Harum. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Barracudas,
Massinfluence,
Lebanon Hanover,
Scientists,
Robert Hood,
Shuggie Otis,
Smog,
Tears for Fears,
Howard Jones,
Kool G Rap & DJ Polo,
Wighnomy Brothers & Robag Wruhme,
Grey Daturas,
Notorious Big And Bone Thugs,
Alton Ellis,
Lucky Dragons,
Marc Romboy vs. Booka Shade,
Leonard Cohen,
Alphaville,
Saccharine Trust,
Patti Smith,
Kauko Röyhkä ja Narttu,
Mad Mike,
The Smoke,
Amon Düül,
Electric Light Orchestra,
the Human League,
June Days,
Brass Construction,
Parry Music,
the Soft Cell,
Cecil Taylor,
Warsaw,
Visionaries,LMNO, T- Love & Iriscience,
Fat Boys,
Rufus Thomas,
Johnny Osbourne,
Ronnie Foster,
Loose Ends,
Ornette Coleman,
The Sound,
Avey Tare's Slasher Flicks,
The Peanut Butter Conspiracy,
Fatback Band,
The Star Department,
Flipper,
Soft Machine,
Vladislav Delay,
Rowland S Howard / Lydia Lunch,
Bill Wells,
Mark Hollis,
Bronski Beat,
Dual Sessions,
James Chance & The Contortions,
Graham Central Station,
48th St. Collective,
The Saints,
Theoretical Girls,
Mars,
Ash Ra Tempel,
Roy Ayers Ubiquity,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.