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 Gambia and from Mexico City.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Taipei.
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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Japan to the rock 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 John Foxx. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Black Sheep 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Rufus Thomas,
New York Dolls,
Lucky Dragons,
Deutsch Amerikanische Freundschaft,
The Golliwogs,
Suicide,
Infiniti,
Davy DMX,
Dennis Brown,
Minor Threat,
These Immortal Souls,
Fear,
Lou Reed & John Cale,
Oblivians,
Sight & Sound,
Moss Icon,
Ralphi Rosario,
Darondo,
Boredoms,
Lungfish,
Grey Daturas,
Kerrie Biddell,
the Swans,
Echo & the Bunnymen,
The Cowsills,
The Martian,
Sex Pistols,
Funky Four + One,
Graham Central Station,
Flamin' Groovies,
The Alarm Clocks,
Crispy Ambulance,
The New Christs,
Vladislav Delay,
Bush Tetras,
Blake Baxter,
Rakim,
R.M.O.,
John Holt,
Prince Buster,
Agitation Free,
PIL,
Crash Course in Science,
Drive Like Jehu,
Vainqueur,
Supertramp,
Tom Boy,
Idris Muhammad,
Gregory Isaacs,
Ituana,
Deepchord,
Tropical Tobacco,
The Music Machine,
The Cure,
Wighnomy Brothers & Robag Wruhme,
Morten Harket,
Terry Callier,
Minnie Riperton,
Fugazi,
Gang Gang Dance,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.