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 Japan and from Taipei.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Halifax and Beijing.
I'm losing my edge to the art-school Woodstock 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 Robert Palmer 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 Velvet Underground to the grime 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 Severed Heads. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Aloha Tigers 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants 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?
Hasil Adkins,
Avey Tare,
The Motions,
Bootsy's Rubber Band,
Blancmange,
David McCallum,
Ash Ra Tempel,
JFA,
Bootsy Collins,
New Age Steppers,
Todd Rundgren,
Man Eating Sloth,
Neu!,
Black Sheep,
Godley & Creme,
Marc Almond,
Circle Jerks,
Cluster,
Vaughan Mason & Crew,
Bob Dylan,
Scott Walker + Sunn O))),
Simply Red,
Eric Dolphy,
Country Joe & The Fish,
T. Rex,
Monks,
Terrestrial Tones,
Todd Terry,
Mark Hollis,
Lizzy Mercier Descloux,
Joensuu 1685,
The United States of America,
Gian Franco Pienzio,
Masters at Work,
N.O.R.E. Featuring Pharrell,
The Sisters of Mercy,
Matthew Bourne,
The Kinks,
Piero Umiliani,
Don Cherry,
Minny Pops,
Crooked Eye,
Heaven 17,
Chrome,
Joe Finger,
Peter & Gordon,
The Music Machine,
Barry Ungar,
Stetsasonic,
The Neon Judgement,
Magazine,
Judy Mowatt,
Make Up,
The New Christs,
Fad Gadget,
Marvin Gaye,
The Dead C,
Con Funk Shun,
The Birthday Party,
Gang of Four,
Massinfluence,
Excepter,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.