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 East Timor and from Beijing.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Manchester.
I'm losing my edge to the art-school Columbus 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 sitar 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 Crooked Eye 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 Metal Thangz. All the underground hits.
All K-Klass tracks. I heard you have a vinyl of every The United States of America 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 '70s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Ponytail,
DNA,
Sonny Sharrock,
Piero Umiliani,
Joyce Sims,
Ralphi Rosario,
Amon Düül II,
The Shadows of Knight,
Livin' Joy,
Television,
Black Bananas,
Lee Hazlewood,
Wally Richardson,
Alphaville,
Byron Stingily,
Liliput,
Prince Buster,
Bill Wells,
Gil Scott-Heron & Brian Jackson,
The Five Americans,
Motorama,
Tomorrow,
Henry Cow,
Gang Starr,
Derrick May,
Danielle Patucci,
Eve St. Jones,
Peter Gordon & Love of Life Orchestra,
Grey Daturas,
Bill Near,
A Flock of Seagulls,
Iggy Pop,
Moebius,
The Mighty Diamonds,
Matthew Bourne,
Gong,
Angels of Light & Akron/Family,
Tommy Roe,
Warsaw,
Soft Machine,
Heavy D & The Boyz,
T. Rex,
The Motions,
The Kinks,
Funkadelic,
Los Fastidios,
Delon & Dalcan,
Pharoah Sanders,
Dave Gahan,
X-102,
Fifty Foot Hose,
Al Stewart,
John Holt,
June of 44,
Sexual Harrassment,
Accadde A,
Ultimate Spinach,
The Cowsills,
Cabaret Voltaire,
Maleditus Sound,
Minor Threat,
Radiohead,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.