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 Turkmenistan and from Delhi.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Taipei and Winnipeg.
I'm losing my edge to the art-school Bremen 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Dorothy Ashby to the techno kids.
I played it at the 40 Watt.
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 Drexciya. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Bad Manners record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
Johnny Clarke,
Tom Boy,
The Moleskins,
Duran Duran,
Peter & Gordon,
The Names,
Los Fastidios,
The Mummies,
Ludus,
Depeche Mode,
Procol Harum,
Richard Hell and the Voidoids,
Kool Moe Dee,
Vainqueur,
Graham Central Station,
DNA,
Flamin' Groovies,
Harmonia,
Pantytec,
Unwound,
Orchestral Manoeuvres in the Dark,
Khruangbin,
Todd Terry,
Bad Manners,
Grauzone,
Fatback Band,
Barry Ungar,
Siglo XX,
Lalann,
Throbbing Gristle,
Big Daddy Kane,
Arab on Radar,
Sam Rivers,
Fela Kuti,
CMW,
Erasure,
A Certain Ratio,
Erykah Badu,
Maleditus Sound,
Q and Not U,
Wighnomy Brothers & Robag Wruhme,
Siouxsie and the Banshees,
Goldenarms,
Altered Images,
The Doors,
The Motions,
Warsaw,
a-ha,
London Community Gospel Choir,
Joe Finger,
Bizarre Inc.,
Interpol,
Archie Shepp,
Bootsy's Rubber Band,
Subhumans,
Freddie Wadling,
Beasts of Bourbon,
Man Parrish,
Major Organ And The Adding Machine,
Porter Ricks,
Gary Puckett & The Union Gap,
Ultravox, Ultravox, Ultravox, Ultravox.
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.