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 St Lucia and from Cairo.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Beijing and Bologna.
I'm losing my edge to the art-school London 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 The Dirtbombs to the jazz kids.
I played it at Trash.
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 Little Man. All the underground hits.
All Scientists tracks. I heard you have a vinyl of every Eurythmics 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Darondo,
Swell Maps,
Marcia Griffiths,
Sarah Menescal,
John Cale,
The Last Poets,
Rosa Yemen,
Echospace,
Cecil Taylor,
Mary Jane Girls,
Dawn Penn,
A Flock of Seagulls,
The Litter,
Max Romeo,
Porter Ricks,
Boz Scaggs,
10cc,
Public Image Ltd.,
Inner City,
MC5,
Yellowson,
Avey Tare's Slasher Flicks,
Bizarre Inc.,
Royal Trux,
T. Rex,
Dr. Dre and Snoop Doggy Dog,
Marvin Gaye,
Essential Logic,
Alice Coltrane,
Fear,
Jesper Dahlback,
Von Mondo,
Crispy Ambulance,
Massinfluence,
Bobby Byrd,
Quantec,
Yazoo,
Loose Ends,
Gastr Del Sol,
Radio Birdman,
Louis and Bebe Barron,
Susan Cadogan,
Minutemen,
Danielle Patucci,
Absolute Body Control,
the Sonics,
The Golliwogs,
Simply Red,
Skarface,
Clear Light,
Ludus,
James White and The Blacks,
Easy Going,
Pharaoh Sanders and the Fire Engines,
Visionaries,LMNO, T- Love & Iriscience,
Hoover,
EPMD,
The Shadows of Knight,
Electric Light Orchestra,
The Durutti Column,
Lebanon Hanover,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
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.