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 Niger 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 1960 to 1971.
I'm losing my edge.
To all the kids in Delhi and Seoul.
I'm losing my edge to the art-school Milan 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 The Sisters of Mercy to the punk kids.
I played it at the Astoria.
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 Model 500. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Major Organ And The Adding Machine 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 '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
kango's stein massive,
Wolf Eyes,
Blake Baxter,
The Toasters,
F. McDonald,
Maleditus Sound,
Von Mondo,
Jandek,
Toni Rubio,
Infiniti,
Oneida,
Sly & The Family Stone,
Vladislav Delay,
Bobby Byrd,
LL Cool J,
The Martian,
Aural Exciters,
Fela Kuti,
Los Fastidios,
Bobbi Humphrey,
Underground Resistance,
X-Ray Spex,
Cybotron,
Danielle Patucci,
10cc,
Mark Hollis,
Zapp,
Sound Behaviour,
Susan Cadogan,
Jesper Dahlback,
Cabaret Voltaire,
The Names,
Sandy B,
Unrelated Segments,
Fad Gadget,
Mad Mike,
The Index,
One Last Wish,
Michelle Simonal,
Eden Ahbez,
The Mighty Diamonds,
Skarface,
Sonic Youth,
MC5,
Swell Maps,
Masters at Work,
Dorothy Ashby,
Ice-T,
Eli Mardock,
the Germs,
JFA,
The Happenings,
DJ Style,
Kaleidoscope,
Franke,
Barclay James Harvest,
The Human League,
Lakeside,
Freddie Wadling,
Shuggie Otis,
Ken Boothe,
Main Source, Main Source, Main Source, Main Source.
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.