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 Vanuatu and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Tokyo.
I'm losing my edge to the art-school Milan 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 West Coast Pop Art Experimental Band to the disco kids.
I played it at the Astoria.
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 Henry Cow. All the underground hits.
All Pagans tracks. I heard you have a vinyl of every Ice-T 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hoover,
Ten City,
X-Ray Spex,
Audionom,
Derrick May,
Maleditus Sound,
Sly & The Family Stone,
Robert Hood,
Deutsch Amerikanische Freundschaft,
Matthew Halsall,
Bobby Byrd,
Yazoo,
MC5,
Frankie Knuckles,
The Stooges,
Johnny Clarke,
Dark Day,
Saccharine Trust,
John Coltrane,
Yellowson,
The Skatalites,
Organ,
Graham Central Station,
Avey Tare,
The Associates,
The Doors,
Röyhkä ja Rättö ja Lehtisalo,
Minutemen,
Magma,
Wings,
Massinfluence,
The Index,
Dead Boys,
Althea and Donna,
Soft Machine,
Lebanon Hanover,
Fugazi,
Lee Hazlewood,
Pagans,
Scratch Acid,
Jawbox,
D'Angelo,
Jandek,
Talk Talk,
Lou Reed & John Cale,
The Tremeloes,
The Fortunes,
Eddi Front,
Livin' Joy,
Lower 48,
DJ Sneak,
Neil Young & Crazy Horse,
Charles Mingus,
Derrick Morgan,
Black Pus,
Marc Romboy vs. Booka Shade,
Subhumans,
Panda Bear,
Visage,
Peter and Kerry,
Chris & Cosey,
Circle Jerks, Circle Jerks, Circle Jerks, Circle Jerks.
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.