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 Ivory Coast and from Shanghai.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
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 1984 at the first Arcadia practice in a loft in London.
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 Model 500 to the punk 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 The Moody Blues. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal disco 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 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barbara Tucker,
Kas Product,
Kango’s Stein Massive,
48th St. Collective,
Hardrive,
The Fall,
Masters at Work,
KRS-One,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pierre Henry,
X-Ray Spex,
Procol Harum,
Camouflage,
Grandmaster Flash and the Furious Five,
Groovy Waters,
Soft Cell,
Man Parrish,
Stiv Bators,
Japan,
Deepchord,
Amon Düül,
X-102,
The Pretty Things,
Delon & Dalcan,
The Raincoats,
Robert Wyatt,
Gang Green,
The Gun Club,
The Sisters of Mercy,
Traffic Nightmare,
Sight & Sound,
the Fania All-Stars,
Stockholm Monsters,
Fort Wilson Riot,
Livin' Joy,
The Divine Comedy,
James White and The Blacks,
Richard Hell and the Voidoids,
Unwound,
Peter and Kerry,
Toni Rubio,
T. Rex,
Model 500,
Dennis Brown,
Lungfish,
The Modern Lovers,
FM Einheit,
Essential Logic,
Smog,
Jerry Gold Smith,
The Blues Magoos,
The Fugs,
The Cure,
Anthony Braxton,
Neu!,
Gregory Isaacs,
Pharoah Sanders,
Make Up,
Althea and Donna,
Dawn Penn,
Sugar Minott,
Boogie Down Productions,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.