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 Luxembourg and from Taipei.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Lille.
I'm losing my edge to the art-school Tokyo 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the marimba 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 Bobby Hutcherson to the dance kids.
I played it at the Troubador.
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 Grass Roots. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Raincoats record.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
Colin Newman,
The Cramps,
Sound Behaviour,
Crime,
The Cure,
Joe Finger,
The Alarm Clocks,
Dead Boys,
Josef K,
Man Eating Sloth,
Avey Tare & Kría Brekkan,
Bad Manners,
Sexual Harrassment,
Yaz,
The Fuzztones,
Pylon,
Los Fastidios,
Rekid,
David McCallum,
Rotary Connection,
Public Enemy,
Sugar Minott,
Rowland S Howard / Lydia Lunch,
Duran Duran,
Soft Cell,
Beasts of Bourbon,
The American Breed,
Gil Scott-Heron and Jamie xx,
The Divine Comedy,
Oppenheimer Analysis,
Hoover,
Ultra Naté,
Desert Stars,
Underground Resistance,
Marine Girls,
Delon & Dalcan,
Loose Ends,
Cabaret Voltaire,
Bang on a Can All-Stars,
Sixth Finger,
Oneida,
The Seeds,
Echo & the Bunnymen,
K-Klass,
Lonnie Liston Smith,
Pharoah Sanders,
John Foxx,
Freddie Wadling,
One Last Wish,
The Walker Brothers,
Jerry Gold Smith,
Graham Central Station,
The Red Krayola,
Television Personalities,
Gang Starr,
Kayak,
Mantronix,
Röyhkä ja Rättö ja Lehtisalo,
Isaac Hayes,
Pharaoh Sanders and the Fire Engines,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.