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 Morocco and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1976.
I'm losing my edge.
To all the kids in Lagos and Shanghai.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the theremin 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 Chris Corsano to the rock kids.
I played it at the 40 Watt.
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 Wire. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Sight & Sound record on German import.
I heard that you have a white label of every seminal techno 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 an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
the Human League,
Barry Ungar,
Ornette Coleman,
Crooked Eye,
Rhythim Is Rhythim,
Kango’s Stein Massive,
Yazoo,
Warren Ellis,
Al Stewart,
Q65,
Be Bop Deluxe,
Reuben Wilson,
Agent Orange,
Jerry Gold Smith,
Bang On A Can,
Arcadia,
Avey Tare,
Lightning Bolt,
Kenny Larkin,
Beasts of Bourbon,
Josef K,
Au Pairs,
Shoche,
Television,
Godley & Creme,
Inner City,
The Sound,
Fear,
Ultimate Spinach,
Bang on a Can All-Stars,
Larry & the Blue Notes,
DNA,
Crispian St. Peters,
Cameo,
Morten Harket,
Little Man,
Suburban Knight,
Jacob Miller,
Roy Ayers Ubiquity,
New York Dolls,
Jeff Mills,
Darondo,
Tomorrow,
Ultra Naté,
The Sonics,
Terry Callier,
Isaac Hayes,
Severed Heads,
Lindisfarne,
Mary Jane Girls,
Interpol,
The Residents,
Young Marble Giants,
Electric Light Orchestra,
Stiv Bators,
ABC,
Bluetip,
The Blackbyrds,
The Pretty Things,
Mark Hollis,
New Order,
Piero Umiliani, Piero Umiliani, Piero Umiliani, Piero Umiliani.
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.