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 New Zealand and from Paris.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Johannesburg.
I'm losing my edge to the art-school Manila 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the sitar 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 Deepchord 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 The Selecter. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
The Zeros,
Bootsy Collins,
Avey Tare & Kría Brekkan,
UT,
Blossom Toes,
Talk Talk,
John Foxx,
Ajijia Myrayebe,
The Misunderstood,
B.T. Express,
the Human League,
cv313,
Ken Boothe,
The Blues Magoos,
N.O.R.E. Featuring Pharrell,
Orchestral Manoeuvres in the Dark,
Fort Wilson Riot,
Robert Görl,
Gichy Dan,
X-Ray Spex,
Dark Day,
Mars,
Sly & The Family Stone,
Kevin Saunderson,
Chris Corsano,
Pussy Galore,
Soul II Soul,
Quadrant,
Pierre Henry,
The Raincoats,
the Soft Cell,
The Associates,
Agent Orange,
Josef K,
Throbbing Gristle,
Ponytail,
Yazoo,
The Residents,
Ultramagnetic MC's,
Rowland S Howard / Lydia Lunch,
Young Marble Giants,
Thinking Fellers Union Local 282,
Barry Ungar,
The Velvet Underground,
Freddie Wadling,
Henry Cow,
Symarip,
Kaleidoscope,
Hardrive,
Avey Tare,
Bizarre Inc.,
Idris Muhammad,
La Düsseldorf,
Roy Ayers,
Suburban Knight,
L. Decosne,
Fela Kuti,
Steve Hackett,
Todd Terry,
A Flock of Seagulls,
Bobby Sherman,
The Gun Club,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.