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 Taiwan and from Shanghai.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Stockholm.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb 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 Drexciya to the dance 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 Tubeway Army. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every London Community Gospel Choir 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 '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your güiro and bought a sitar.
I hear that you and your band have sold your sitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Prince Buster,
Boredoms,
Röyhkä ja Rättö ja Lehtisalo,
Eyeless In Gaza,
Lou Reed,
The Count Five,
Jawbox,
Arcadia,
Oppenheimer Analysis,
The Pretty Things,
Beasts of Bourbon,
Cheater Slicks,
James Chance & The Contortions,
The Barracudas,
Lungfish,
The Golliwogs,
H. Thieme,
Visage,
Piero Umiliani,
Avey Tare,
Cymande,
Theoretical Girls,
Crash Course in Science,
Mr. Review,
Warsaw,
Rotary Connection,
Bill Wells,
Pet Shop Boys,
Nick Cave & The Bad Seeds,
the Association,
Mad Mike,
Soul II Soul,
Grandmaster Flash,
Wasted Youth,
Brass Construction,
Pere Ubu,
It's A Beautiful Day,
Grandmaster Flash and the Furious Five,
Kauko Röyhkä ja Narttu,
Dead Boys,
Jerry's Kids,
Simply Red,
Terrestrial Tones,
OOIOO,
Roy Ayers Ubiquity,
the Normal,
The Move,
Captain Beefheart & His Magic Band,
The Dead C,
Pussy Galore,
Lou Christie,
Iggy Pop,
The Doors,
Traffic Nightmare,
Kevin Saunderson,
Manfred Mann's Earth Band,
Mo-Dettes,
the Swans,
FM Einheit,
The Real Kids,
Tres Demented,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.