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 Belarus and from London.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Toronto and Manila.
I'm losing my edge to the art-school Edmonton 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum 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 Eric Dolphy to the grunge kids.
I played it at the Troubador.
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 Thinking Fellers Union Local 282. All the underground hits.
All Scrapy tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Althea and Donna,
The Doors,
Idris Muhammad,
The Names,
Flash Fearless,
Donald Byrd,
Porter Ricks,
Kauko Röyhkä ja Narttu,
The Electric Prunes,
Lee Hazlewood,
the Human League,
Half Japanese,
Flamin' Groovies,
Aswad,
Maleditus Sound,
Buzzcocks,
Deepchord,
Mr. Review,
cv313,
John Lydon,
Danielle Patucci,
Excepter,
Josef K,
Louis and Bebe Barron,
Desert Stars,
Grandmaster Flash and the Furious Five,
The Pop Group,
Beasts of Bourbon,
Q65,
Curtis Mayfield,
Swans,
Nico,
The Gories,
John Foxx,
Nils Olav,
Essential Logic,
The American Breed,
Pierre Henry,
Gang Green,
Warsaw,
Dorothy Ashby,
The Sound,
the Normal,
Janne Schatter,
Rosa Yemen,
Skaos,
The Peanut Butter Conspiracy,
Parry Music,
Sandy B,
The Young Rascals,
The Neon Judgement,
Roy Ayers Ubiquity,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bobby Hutcherson,
Animal Collective,
China Crisis,
Jeff Mills,
Brass Construction,
The Mummies,
Maurizio,
Loose Ends,
Pylon,
MDC, MDC, MDC, MDC.
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.