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 Chile and from Woodstock.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Lyon and Portland.
I'm losing my edge to the art-school Edmonton 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 Art of Noise practice in a loft in London.
I was working on the sitar 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 The Fugs to the jazz kids.
I played it at the Troubador.
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 Blake Baxter. All the underground hits.
All Marc Romboy vs. Booka Shade tracks. I heard you have a vinyl of every Brass Construction 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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 Index,
The Modern Lovers,
Eric Dolphy,
Barbara Tucker,
Wolf Eyes,
Drive Like Jehu,
The United States of America,
The Evens,
The Divine Comedy,
Aswad,
A Certain Ratio,
Dawn Penn,
The Offenders,
Arab on Radar,
U.S. Maple,
Ultramagnetic MC's,
Los Fastidios,
Pantaleimon,
Von Mondo,
Neu!,
Jesper Dahlback,
Unrelated Segments,
Andrew Hill,
Lou Reed,
The Victims,
DNA,
Soft Machine,
Minor Threat,
Panda Bear,
Skarface,
Soul II Soul,
Be Bop Deluxe,
Grauzone,
Joensuu 1685,
Intrusion,
Severed Heads,
The Residents,
Visage,
Gabor Szabo,
Eve St. Jones,
Black Bananas,
Yazoo,
Nick Fraelich,
Gary Puckett & The Union Gap,
Flamin' Groovies,
Hardrive,
L. Decosne,
Aaron Thompson,
Sugar Minott,
Bauhaus,
Fatback Band,
The Beau Brummels,
Easy Going,
The Blackbyrds,
Wighnomy Brothers & Robag Wruhme,
Eden Ahbez,
Mad Mike,
Theoretical Girls,
Isaac Hayes,
Joe Finger,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.