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 Korea South and from Halifax.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1977.
I'm losing my edge.
To all the kids in Shanghai and Stockholm.
I'm losing my edge to the art-school Manchester 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Robert Görl to the electroclash 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 The Shadows of Knight. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Bizarre Inc. record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
Schoolly D,
a-ha,
The Music Machine,
Wolf Eyes,
Icehouse,
Reagan Youth,
R.M.O.,
Toni Rubio,
Lalo Schifrin,
Urselle,
Peter and Kerry,
Rosa Yemen,
L. Decosne,
Second Layer,
Sound Behaviour,
The Toasters,
The Sisters of Mercy,
LL Cool J,
Judy Mowatt,
Flash Fearless,
The J.B.'s,
Talk Talk,
Pete Rock & C.L. Smooth,
Tropical Tobacco,
Angels of Light & Akron/Family,
the Fania All-Stars,
James Chance & The Contortions,
The Searchers,
Mad Mike,
The Zeros,
Rhythm & Sound,
The Blackbyrds,
Kevin Saunderson,
Nils Olav,
the Association,
Al Stewart,
Selector Dub Narcotic,
Roy Ayers Ubiquity,
Marc Romboy vs. Booka Shade,
Kerrie Biddell,
Bizarre Inc.,
Zero Boys,
Severed Heads,
Moss Icon,
the Bar-Kays,
Metal Thangz,
The Star Department,
Grandmaster Flash and the Furious Five,
the Normal,
Shoche,
Lyres,
The Raincoats,
Lungfish,
The Real Kids,
the Swans,
The Peanut Butter Conspiracy,
CMW,
Ronan,
Sonic Youth,
Ken Boothe,
Ohio Players,
X-101, X-101, X-101, X-101.
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.