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 Peru and from Manila.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Bremen.
I'm losing my edge to the art-school Calgary 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 oboe 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 Buzzcocks to the dance kids.
I played it at CBGB's.
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 Visage. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every The Associates record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
New Age Steppers,
New York Dolls,
Stetsasonic,
The Red Krayola,
Eli Mardock,
Newcleus,
Tom Boy,
Crash Course in Science,
Sun Ra Arkestra,
Blake Baxter,
Throbbing Gristle,
The Standells,
Robert Hood,
Howard Jones,
Pagans,
Gong,
The Moody Blues,
Yellowson,
Boogie Down Productions,
The Vogues,
Davy DMX,
Franke,
Sonny Sharrock,
Deepchord,
Bizarre Inc.,
Bootsy's Rubber Band,
Jimmy McGriff,
Ohio Players,
Deadbeat,
Sonic Youth,
JFA,
The Smiths,
Fifty Foot Hose,
Amazonics,
The Doobie Brothers,
Jesper Dahlbäck,
Hashim,
PIL,
D'Angelo,
The West Coast Pop Art Experimental Band,
the Normal,
Robert Wyatt,
Matthew Halsall,
Gerry Rafferty,
Lee Hazlewood,
Bobbi Humphrey,
The Birthday Party,
The Moleskins,
Lakeside,
Malaria!,
Eric Dolphy,
Scan 7,
Joyce Sims,
Cluster,
China Crisis,
Sticky Fingaz feat. Raekwon,
The Young Rascals,
Banda Bassotti,
The Wake,
Grandmaster Flash,
Man Eating Sloth,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.