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 Honduras and from Accra.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Bremen 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 Selda practice in a loft in Istanbul.
I was working on the oboe 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 48th St. Collective to the jazz kids.
I played it at the Hacienda.
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 Audionom. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Ossler record on German import.
I heard that you have a white label of every seminal rap 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 linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Supertramp,
Surgeon,
Mad Mike,
Stereo Dub,
the Germs,
Gian Franco Pienzio,
Radiopuhelimet,
Ice-T,
Inner City,
Spoonie Gee,
The Fugs,
The Stooges,
June of 44,
Slave,
Judy Mowatt,
The Standells,
the Association,
a-ha,
Ossler,
Fear,
Girls At Our Best!,
Alice Coltrane,
The Slackers,
Connie Case,
Faraquet,
The Human League,
R.M.O.,
Mark Hollis,
Quadrant,
Sun City Girls,
Man Parrish,
Juan Atkins,
Scratch Acid,
The Seeds,
Dorothy Ashby,
Unwound,
The Mummies,
Hot Snakes,
Robert Wyatt,
Richard Hell and the Voidoids,
Bush Tetras,
Magazine,
UT,
Jeff Lynne,
Average White Band,
Ludus,
Hashim,
Stiv Bators,
The Count Five,
The Litter,
CMW,
James White and The Blacks,
Sunsets and Hearts,
Todd Rundgren,
A Certain Ratio,
H. Thieme,
One Last Wish,
Visage,
DJ Style,
The Vogues,
Depeche Mode,
cv313,
Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282.
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.