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 Tanzania and from Manchester.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Houston 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the linndrum 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 Rhythim Is Rhythim to the techno kids.
I played it at Cafe Wha.
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 Masters at Work. All the underground hits.
All Index tracks. I heard you have a vinyl of every Curtis Mayfield 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your rhodes and bought a snare.
I hear that you and your band have sold your snare and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
World's Most,
Brass Construction,
Cecil Taylor,
Ultra Naté,
Unwound,
The Evens,
Justin Hinds & The Dominoes,
Pantytec,
The Raincoats,
Barbara Tucker,
Kenny Larkin,
Derrick May,
Drive Like Jehu,
The Blackbyrds,
Amon Düül II,
Tommy Roe,
Dave Gahan,
Urselle,
a-ha,
Massinfluence,
Mars,
Parry Music,
Beasts of Bourbon,
The Cramps,
The Last Poets,
Young Marble Giants,
Black Bananas,
The Neon Judgement,
Sex Pistols,
Yazoo,
The Mojo Men,
Lucky Dragons,
Sun Ra,
Wire,
Davy DMX,
Wally Richardson,
Rosa Yemen,
Röyhkä ja Rättö ja Lehtisalo,
Banda Bassotti,
Wings,
Ronan,
John Cale,
Public Enemy,
Gil Scott-Heron & Brian Jackson,
Hot Snakes,
Mark Hollis,
Sight & Sound,
Aural Exciters,
Fluxion,
The Move,
La Düsseldorf,
Bluetip,
The Men They Couldn't Hang,
ABC,
The Techniques,
Matthew Bourne,
June Days,
Jandek,
Quadrant,
Rekid,
Whodini,
Bizarre Inc.,
MDC, MDC, MDC, MDC.
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.