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 Sweden and from Manila.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
I'm losing my edge to the art-school Woodstock 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the harpsichord 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 Rapeman to the grunge kids.
I played it at the Spitz.
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 Cluster. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Pere Ubu 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
Bauhaus,
Scrapy,
Orchestral Manoeuvres in the Dark,
Thee Headcoats,
Goldenarms,
A Certain Ratio,
Sun Ra,
The Stooges,
Jeru the Damaja,
The Count Five,
Oneida,
Marine Girls,
Al Stewart,
R.M.O.,
Juan Atkins,
Los Fastidios,
Trumans Water,
Lonnie Liston Smith,
Peter Gordon & Love of Life Orchestra,
The Seeds,
KRS-One,
Skarface,
Neil Young & Crazy Horse,
F. McDonald,
DNA,
The Doobie Brothers,
Ossler,
Sällskapet,
The Detroit Cobras,
Pere Ubu,
Fluxion,
Ponytail,
Alton Ellis,
The Vogues,
Stockholm Monsters,
John Foxx,
Bootsy's Rubber Band,
Fela Kuti,
Sexual Harrassment,
Robert Görl,
The New Christs,
Yaz,
The Star Department,
Kayak,
Clear Light,
Chris Corsano,
Roxy Music,
The Cure,
Kas Product,
Bluetip,
The United States of America,
Pylon,
Aaron Thompson,
Tres Demented,
The Last Poets,
the Slits,
Jawbox,
Con Funk Shun,
Jesper Dahlback,
The Smiths,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.