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 Bahamas and from Paris.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1976.
I'm losing my edge.
To all the kids in Paris and Mumbai.
I'm losing my edge to the art-school Bologna 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 rhodes 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 Joyce Sims to the jazz kids.
I played it at the Crocodile.
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 Lou Christie. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Louis and Bebe Barron record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Foxx,
Avey Tare,
Crooked Eye,
Prince Buster,
London Community Gospel Choir,
Quadrant,
Harry Pussy,
ABBA,
Bill Wells,
Symarip,
Throbbing Gristle,
Jerry Gold Smith,
The Busters,
Essential Logic,
Big Daddy Kane,
Röyhkä ja Rättö ja Lehtisalo,
The Doors,
Echospace,
Joe Smooth,
Electric Prunes,
Inner City,
The Fall,
Oblivians,
Grandmaster Flash and the Furious Five,
Ludus,
Brass Construction,
Liaisons Dangereuses,
Youth Brigade,
The Cosmic Jokers,
The Divine Comedy,
Procol Harum,
Archie Shepp,
The Durutti Column,
Barclay James Harvest,
Nirvana,
Lee Hazlewood,
Sunsets and Hearts,
Lafayette Afro Rock Band,
Traffic Nightmare,
A Flock of Seagulls,
The Golliwogs,
Ossler,
Ultra Naté,
Strawberry Alarm Clock,
Nico,
Spoonie Gee,
Roy Ayers Ubiquity,
Accadde A,
Dorothy Ashby,
Black Pus,
Sound Behaviour,
Zero Boys,
John Cale,
the Germs,
Arcadia,
Country Joe & The Fish,
Funkadelic,
Tim Buckley,
Notorious BIG live in Amsterdam,
Hashim,
Ohio Players,
Orchestral Manoeuvres in the Dark,
Crash Course in Science,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.