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 Georgia and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Taipei and Calgary.
I'm losing my edge to the art-school Sao Paulo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron 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 Crime to the crunk 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 Jeff Lynne. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Pussy Galore record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Jacques Brel,
Chris & Cosey,
Sun Ra Arkestra,
The Gories,
James Chance & The Contortions,
Bauhaus,
The Slackers,
Fela Kuti,
Eden Ahbez,
Von Mondo,
Inner City,
Sonny Sharrock,
Zapp,
The Monochrome Set,
Monks,
Crispy Ambulance,
Ludus,
Desert Stars,
June Days,
Lizzy Mercier Descloux,
Hardrive,
Röyhkä ja Rättö ja Lehtisalo,
Ronan,
Spoonie Gee,
The Fire Engines,
Liaisons Dangereuses,
Brass Construction,
D'Angelo,
John Cale,
Ralphi Rosario,
Ken Boothe,
Bobby Womack,
Isaac Hayes,
The Happenings,
The Moleskins,
kango's stein massive,
DNA,
U.S. Maple,
Grandmaster Flash,
The New Christs,
Tres Demented,
Bootsy Collins,
Eddi Front,
Harpers Bizarre,
Kerri Chandler,
Byron Stingily,
The Pretty Things,
James White and The Blacks,
David McCallum,
Monolake,
Masters at Work,
Avey Tare & Kría Brekkan,
Unrelated Segments,
Vaughan Mason & Crew,
Todd Terry,
Fluxion,
Bobbi Humphrey,
The Motions,
Los Fastidios,
Silicon Teens,
The Index,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.