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 Spain and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Jakarta.
I'm losing my edge to the art-school Salvador 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 Art of Noise practice in a loft in London.
I was working on the sitar 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 The Grass Roots to the dance kids.
I played it at the Astoria.
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 Blancmange. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Pierre Henry 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 '70s cut and another box set from the '70s.
I hear you're buying an oboe and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Cale,
Eyeless In Gaza,
Johnny Clarke,
The Monks,
Bronski Beat,
New Order,
Dorothy Ashby,
The Fugs,
Tom Boy,
Erykah Badu,
Soft Cell,
Altered Images,
Strawberry Alarm Clock,
Soul II Soul,
Red Lorry Yellow Lorry,
Robert Hood,
Desert Stars,
Joensuu 1685,
Gil Scott-Heron & Brian Jackson,
Buzzcocks,
The Remains,
KRS-One,
The Slackers,
Flash Fearless,
Delon & Dalcan,
Gregory Isaacs,
The Royal Family And The Poor,
Ajijia Myrayebe,
Lou Christie,
Donald Byrd,
LL Cool J,
Lizzy Mercier Descloux,
Television,
U.S. Maple,
Boogie Down Productions,
Skarface,
Rotary Connection,
Bootsy Collins,
Avey Tare,
The Cosmic Jokers,
Lightning Bolt,
Toni Rubio,
The Wake,
CMW,
The Blackbyrds,
Matthew Halsall,
Dr. Dre and Snoop Doggy Dog,
Don Cherry,
The Doobie Brothers,
Ornette Coleman,
Notorious Big And Bone Thugs,
Vladislav Delay,
Dawn Penn,
Rekid,
Alice Coltrane,
Mr. Review,
Donny Hathaway,
Amon Düül,
The Smoke,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.