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 Turkmenistan and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1973.
I'm losing my edge.
To all the kids in Madrid and Madrid.
I'm losing my edge to the art-school Seoul 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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord 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 Half Japanese to the dance kids.
I played it at the Troubador.
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 Stiv Bators. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
Symarip,
Barclay James Harvest,
Lower 48,
Moebius,
Infiniti,
Ronan,
Selector Dub Narcotic,
Excepter,
Unrelated Segments,
Steve Hackett,
UT,
Schoolly D,
Darondo,
Eli Mardock,
PIL,
Andrew Hill,
Lee Hazlewood,
Sun City Girls,
Young Marble Giants,
Thompson Twins,
Pet Shop Boys,
Eddi Front,
Index,
Pharaoh Sanders and the Fire Engines,
Cabaret Voltaire,
Malaria!,
Kerrie Biddell,
Section 25,
Tommy Roe,
The Names,
the Swans,
David Axelrod,
KRS-One,
Rowland S Howard / Lydia Lunch,
Circle Jerks,
Lalo Schifrin,
In Retrospect,
The Fuzztones,
Amon Düül II,
Moby Grape,
Ossler,
D'Angelo,
The Searchers,
Kauko Röyhkä ja Narttu,
Kool Moe Dee,
The Grass Roots,
Terry Callier,
The Mojo Men,
Sonny Sharrock,
Marvin Gaye,
Mark Hollis,
CMW,
Organ,
H. Thieme,
The Beau Brummels,
Chris & Cosey,
R.M.O.,
The Walker Brothers,
Fugazi,
Joe Smooth,
Joyce Sims,
Minutemen,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.