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 China and from Seoul.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Accra.
I'm losing my edge to the art-school Delhi 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 clarinet 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 Chris Corsano 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 Kenny Larkin. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Pantytec record on German import.
I heard that you have a white label of every seminal rap 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 a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Soft Cell,
Bizarre Inc.,
Ash Ra Tempel,
Janne Schatter,
The Smoke,
Siouxsie and the Banshees,
Whodini,
Public Image Ltd.,
Eric Copeland,
Swell Maps,
Nico,
the Soft Cell,
Cymande,
Notorious BIG live in Amsterdam,
The Slackers,
Arthur Verocai,
Roxy Music,
Boz Scaggs,
Eddi Front,
Pierre Henry,
Mark Hollis,
Letta Mbulu,
Con Funk Shun,
Frankie Knuckles,
Kenny Larkin,
Roy Ayers Ubiquity,
Eli Mardock,
Nick Fraelich,
Marvin Gaye,
Freddie Wadling,
Supertramp,
Brothers Johnson,
The Gap Band,
Yazoo,
Peter & Gordon,
June of 44,
Eric Dolphy,
Strawberry Alarm Clock,
Yellowson,
Kool G Rap & DJ Polo,
Sly & The Family Stone,
H. Thieme,
Negative Approach,
Quantec,
John Coltrane,
Bob Dylan,
Minutemen,
The Dirtbombs,
Albert Ayler,
Hoover,
Goldenarms,
Panda Bear,
Drive Like Jehu,
Ronnie Foster,
Symarip,
Lizzy Mercier Descloux,
Brand Nubian,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.