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 Lithuania and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Stockholm and Mumbai.
I'm losing my edge to the art-school Woodstock 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 1978 at the first Visage practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Oppenheimer Analysis to the grunge kids.
I played it at the Roxy.
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 Kerrie Biddell. All the underground hits.
All Crime tracks. I heard you have a vinyl of every the Slits record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Deakin,
Slick Rick,
Wasted Youth,
DJ Style,
Kango’s Stein Massive,
The Misunderstood,
Juan Atkins,
New York Dolls,
The Sound,
Nas,
the Soft Cell,
The Mighty Diamonds,
Radiohead,
Glambeats Corp.,
Gichy Dan,
Susan Cadogan,
Little Man,
Pantaleimon,
Sex Pistols,
Supertramp,
The Selecter,
Malaria!,
Deutsch Amerikanische Freundschaft,
Inner City,
Section 25,
Arab on Radar,
The Young Rascals,
Whodini,
The Star Department,
The Fortunes,
Intrusion,
Darondo,
Ituana,
Notorious BIG live in Amsterdam,
Excepter,
the Swans,
Jawbox,
Brass Construction,
Siouxsie and the Banshees,
Curtis Mayfield,
The Motions,
Mr. Review,
Sugar Minott,
Ohio Players,
The Last Poets,
Brick,
Neu!,
Scientists,
Panda Bear,
Clear Light,
Mantronix,
Faraquet,
Main Source,
Tears for Fears,
Lou Reed & Metallica,
X-102,
Metal Thangz,
The Birthday Party,
Y Pants,
Ice-T,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.