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 Monaco and from Stockholm.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Bologna and Milan.
I'm losing my edge to the art-school Cairo 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 Lewis practice in a loft in Vancouver.
I was working on the theremin 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 Jeff Mills 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 Bronski Beat. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Tropical Tobacco record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Thompson Twins,
KRS-One,
Flamin' Groovies,
T.S.O.L.,
The American Breed,
Roxy Music,
Ludus,
Von Mondo,
Brick,
Half Japanese,
Zapp,
DJ Sneak,
Barrington Levy,
Model 500,
The Barracudas,
Matthew Bourne,
Clear Light,
Brand Nubian,
Don Cherry,
Deakin,
Peter Gordon & Love of Life Orchestra,
Wally Richardson,
Absolute Body Control,
the Association,
Quantec,
Interpol,
Hot Snakes,
Bob Dylan,
the Human League,
London Community Gospel Choir,
Josef K,
Technova,
Yusef Lateef,
Radiopuhelimet,
Ash Ra Tempel,
Frankie Knuckles,
Gang of Four,
Throbbing Gristle,
Duran Duran,
Marine Girls,
Camberwell Now,
Schoolly D,
Boz Scaggs,
The Mojo Men,
The Sound,
Loose Ends,
The Raincoats,
The Dave Clark Five,
Electric Prunes,
Little Man,
Magma,
The Doors,
Lou Reed,
The Fugs,
Tomorrow,
Scratch Acid,
The Electric Prunes,
Robert Hood,
Laurel Aitken,
Lyres,
Heaven 17,
Magazine,
Junior Murvin,
Babytalk, Babytalk, Babytalk, Babytalk.
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.