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 Kiribati and from Sao Paulo.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Glasgow.
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 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 Nile Rodgers 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 Scott Walker to the rap 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 Traffic Nightmare. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Harry Pussy 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 '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Unrelated Segments,
The Vogues,
Echospace,
A Flock of Seagulls,
John Lydon,
The Last Poets,
Tommy Roe,
Can,
Groovy Waters,
The Divine Comedy,
Au Pairs,
Wighnomy Brothers & Robag Wruhme,
Rekid,
The Young Rascals,
James Chance & The Contortions,
Bush Tetras,
The Neon Judgement,
Joe Finger,
Henry Cow,
Radio Birdman,
Nico,
The Moody Blues,
John Holt,
Oblivians,
The Invisible,
Saccharine Trust,
The United States of America,
Sly & The Family Stone,
Ultra Naté,
Suburban Knight,
OOIOO,
Animal Collective,
Kevin Saunderson,
Audionom,
Colin Newman,
Bluetip,
Aaron Thompson,
Deadbeat,
The Skatalites,
Donald Byrd,
John Cale,
The Toasters,
Basic Channel,
Thee Headcoats,
Dead Boys,
Fugazi,
Magazine,
Sonic Youth,
Funky Four + One,
Livin' Joy,
Visage,
FM Einheit,
Black Bananas,
The Sonics,
The Martian,
Eli Mardock,
Angels of Light & Akron/Family,
Flipper,
Absolute Body Control,
Arcadia,
Faraquet,
Kool Moe Dee,
Matthew Halsall,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
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.