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 South Sudan and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1978.
I'm losing my edge.
To all the kids in Glasgow and Lille.
I'm losing my edge to the art-school Mexico City 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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb 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 Grey Daturas to the jazz kids.
I played it at the 40 Watt.
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 The Fire Engines. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Tropical Tobacco record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Black Pus record.
I hear that you and your band have sold your guitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fatback Band,
Hashim,
Sex Pistols,
Eurythmics,
The Chocolate Watch Band,
Delon & Dalcan,
Jerry's Kids,
U.S. Maple,
EPMD,
the Bar-Kays,
Fela Kuti,
Saccharine Trust,
The Count Five,
Pussy Galore,
Harpers Bizarre,
The Standells,
R.M.O.,
Ultravox,
Cecil Taylor,
The Music Machine,
Harmonia,
The Shadows of Knight,
Delta 5,
Connie Case,
H. Thieme,
Liaisons Dangereuses,
The Associates,
Lightning Bolt,
Sister Nancy,
Charles Mingus,
Kevin Saunderson,
Deakin,
Young Marble Giants,
DeepChord presents Echospace,
Model 500,
Masters at Work,
Sonic Youth,
Moss Icon,
Kerrie Biddell,
Pierre Henry,
Aaron Thompson,
Gichy Dan,
The Slackers,
Shuggie Otis,
Sun Ra Arkestra,
Sticky Fingaz feat. Raekwon,
The Residents,
B.T. Express,
Babytalk,
Big Daddy Kane,
The Doobie Brothers,
Smog,
Sad Lovers and Giants,
Cameo,
Matthew Halsall,
Altered Images,
The Beau Brummels,
A Flock of Seagulls,
Soft Machine,
The Evens,
Ponytail,
The Modern Lovers,
Main Source,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.