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 Syria and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1979.
I'm losing my edge.
To all the kids in Lyon and Manila.
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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Associates to the techno kids.
I played it at CBGB's.
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 Peter and Kerry. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Saints,
Colin Newman,
The Fire Engines,
Slave,
Flamin' Groovies,
Mark Hollis,
Cabaret Voltaire,
Lower 48,
Model 500,
Black Moon,
The Pop Group,
Eden Ahbez,
DNA,
Mars,
World's Most,
The West Coast Pop Art Experimental Band,
Connie Case,
Grandmaster Flash,
DeepChord presents Echospace,
Young Marble Giants,
The Men They Couldn't Hang,
Bill Wells,
Mad Mike,
Sonny Sharrock,
kango's stein massive,
Soft Machine,
Andrew Hill,
Chris & Cosey,
Rhythm & Sound,
The Electric Prunes,
Avey Tare & Kría Brekkan,
Don Cherry,
Lonnie Liston Smith,
Suicide,
Depeche Mode,
Lafayette Afro Rock Band,
The Moleskins,
Fear,
The J.B.'s,
Kauko Röyhkä ja Narttu,
Arcadia,
China Crisis,
Kaleidoscope,
Derrick May,
Strawberry Alarm Clock,
Maleditus Sound,
Ken Boothe,
The Sound,
Siglo XX,
Kango’s Stein Massive,
Blancmange,
8 Eyed Spy,
Surgeon,
The Golliwogs,
Cybotron,
Guru Guru,
The Mummies,
The Detroit Cobras,
Amazonics,
The Birthday Party,
The Litter,
Circle Jerks,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.