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 Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Manchester and Copenhagen.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the organ 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 B.T. Express to the disco kids.
I played it at the Crocodile.
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 Detroit Cobras. All the underground hits.
All Surgeon tracks. I heard you have a vinyl of every Suicide record on German import.
I heard that you have a white label of every seminal crunk 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 clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
Dr. Dre and Snoop Doggy Dog,
Don Cherry,
the Swans,
The New Christs,
The Birthday Party,
Japan,
Outsiders,
Avey Tare,
Monolake,
Larry & the Blue Notes,
Man Parrish,
Soft Cell,
JFA,
Wings,
Crash Course in Science,
Fifty Foot Hose,
David McCallum,
the Association,
Little Man,
Dark Day,
Quando Quango,
the Human League,
Cameo,
The Tremeloes,
Agent Orange,
R.M.O.,
Kings Of Tomorrow,
Derrick May,
Subhumans,
Brass Construction,
Jimmy McGriff,
The Fortunes,
Orchestral Manoeuvres in the Dark,
Skarface,
Black Moon,
Gil Scott-Heron and Jamie xx,
Jandek,
Marmalade,
The Mighty Diamonds,
The Trojans,
De La Soul & Jungle Brothers,
The Peanut Butter Conspiracy,
David Axelrod,
X-102,
Ohio Players,
The Royal Family And The Poor,
X-Ray Spex,
Altered Images,
Silicon Teens,
Leonard Cohen,
Lou Reed & John Cale,
Aaron Thompson,
Hasil Adkins,
Amon Düül,
The Modern Lovers,
The Happenings,
Stereo Dub,
Slave,
Sound Behaviour,
Sugar Minott,
Manfred Mann's Earth Band,
Quantec,
The Zeros, The Zeros, The Zeros, The Zeros.
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.