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 Suriname and from Manchester.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1972.
I'm losing my edge.
To all the kids in New York and Spokane.
I'm losing my edge to the art-school New York 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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 Saccharine Trust to the dance 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 Bang On A Can. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every Deepchord 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
Blancmange,
The Electric Prunes,
Massinfluence,
David Axelrod,
Ronan,
Drexciya,
Kool Moe Dee,
Black Sheep,
Moebius,
Bob Dylan,
Kool G Rap & DJ Polo,
James Chance & The Contortions,
the Sonics,
The Pop Group,
Funky Four + One,
Marc Romboy vs. Booka Shade,
Ultra Naté,
Dorothy Ashby,
F. McDonald,
John Foxx,
ABC,
The Velvet Underground,
A Certain Ratio,
Radiohead,
Cabaret Voltaire,
The Mighty Diamonds,
Crooked Eye,
Curtis Mayfield,
Erasure,
Eve St. Jones,
Dead Boys,
Eyeless In Gaza,
Strawberry Alarm Clock,
Aaron Thompson,
Marmalade,
The Dirtbombs,
Gabor Szabo,
Ornette Coleman,
Sällskapet,
Vaughan Mason & Crew,
Royal Trux,
Stetsasonic,
Connie Case,
Bootsy's Rubber Band,
Scott Walker,
John Cale,
Röyhkä ja Rättö ja Lehtisalo,
Major Organ And The Adding Machine,
Negative Approach,
Harpers Bizarre,
X-102,
The Names,
The Red Krayola,
Lalann,
Tommy Roe,
the Fania All-Stars,
Alphaville,
Wire,
cv313,
The Invisible,
The Saints,
John Coltrane,
Ultravox,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.