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 Chad and from Copenhagen.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1971.
I'm losing my edge.
To all the kids in Spokane and Mumbai.
I'm losing my edge to the art-school Manila 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 rhodes 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 Heaven 17 to the punk kids.
I played it at the Roxy.
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 Joy Division. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every Loose Ends 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 '60s cut and another box set from the '90s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Gerry Rafferty record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Todd Terry,
Lyres,
Oppenheimer Analysis,
Rufus Thomas,
Man Parrish,
Judy Mowatt,
Theoretical Girls,
The Wake,
Traffic Nightmare,
Blancmange,
Peter Gordon & Love of Life Orchestra,
Zapp,
Idris Muhammad,
Schoolly D,
Sunsets and Hearts,
Notorious BIG live in Amsterdam,
The Index,
Lightning Bolt,
Lou Reed,
Howard Jones,
Selector Dub Narcotic,
June Days,
Harmonia,
World's Most,
Au Pairs,
Mandrill,
Jacques Brel,
Orchestral Manoeuvres in the Dark,
The New Christs,
Audionom,
The Motions,
Franke,
Funky Four + One,
The Dead C,
The Zeros,
Bootsy Collins,
Bluetip,
The Jesus and Mary Chain,
The Dirtbombs,
Unwound,
Louis and Bebe Barron,
Kenny Larkin,
the Soft Cell,
Thee Headcoats,
In Retrospect,
Crispian St. Peters,
Maurizio,
Lakeside,
Gil Scott-Heron and Jamie xx,
Marcia Griffiths,
The Velvet Underground,
Erasure,
Ralphi Rosario,
Radiohead,
Frankie Knuckles,
John Holt,
Mantronix,
Sight & Sound,
Strawberry Alarm Clock,
Beasts of Bourbon,
The Walker Brothers,
The Standells, The Standells, The Standells, The Standells.
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.