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 Tunisia and from Seoul.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Beijing and Manchester.
I'm losing my edge to the art-school Shanghai 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 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 F. McDonald to the techno 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 Throbbing Gristle. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every David Bowie 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
The Human League,
Sticky Fingaz feat. Raekwon,
Alton Ellis,
Quadrant,
John Holt,
Warren Ellis,
Joe Finger,
the Sonics,
The Toasters,
The Pop Group,
Andrew Ashong & Theo Parrish,
Symarip,
Audionom,
Sunsets and Hearts,
Eric Copeland,
The Associates,
Yusef Lateef,
Alison Limerick,
Suburban Knight,
The Martian,
Brand Nubian,
Lower 48,
Organ,
Aswad,
Sexual Harrassment,
the Slits,
Theoretical Girls,
Black Moon,
In Retrospect,
Spoonie Gee,
X-Ray Spex,
Fear,
New York Dolls,
Goldenarms,
Duran Duran,
Mantronix,
Moebius,
Hot Snakes,
Soul II Soul,
Buzzcocks,
Peter Gordon & Love of Life Orchestra,
The Fire Engines,
the Fania All-Stars,
Be Bop Deluxe,
The Mojo Men,
Larry & the Blue Notes,
Whodini,
Laurel Aitken,
Strawberry Alarm Clock,
The Moody Blues,
Bobby Byrd,
the Human League,
Rufus Thomas,
Graham Central Station,
Lizzy Mercier Descloux,
Joensuu 1685,
Tears for Fears,
Sarah Menescal,
Idris Muhammad,
Massinfluence,
F. McDonald,
Scion, Scion, Scion, Scion.
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.