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 Kyrgyzstan and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Edmonton.
I'm losing my edge to the art-school Lagos 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 808 sounds with much patience.
I was there when Lou Reed 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 Lou Reed & Metallica to the disco kids.
I played it at Cafe Wha.
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 Susan Cadogan. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Newcleus 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 '90s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
Model 500,
DJ Style,
Easy Going,
Franke,
Sugar Minott,
Richard Hell and the Voidoids,
The Cramps,
Radiopuhelimet,
Black Pus,
Livin' Joy,
Unrelated Segments,
Pierre Henry,
Don Cherry,
Masters at Work,
Roy Ayers,
Sad Lovers and Giants,
Pagans,
Scion,
Fort Wilson Riot,
Bang On A Can,
Boz Scaggs,
Harmonia,
Josef K,
Yusef Lateef,
Robert Wyatt,
Nico,
Rod Modell,
Ten City,
Tubeway Army,
Vaughan Mason & Crew,
Minnie Riperton,
Sarah Menescal,
The Cowsills,
Warsaw,
Lou Christie,
Tommy Roe,
The Fuzztones,
Gastr Del Sol,
Talk Talk,
Kenny Larkin,
Mission of Burma,
The Standells,
Dave Gahan,
The Detroit Cobras,
Blossom Toes,
The Young Rascals,
Jawbox,
The Searchers,
H. Thieme,
New Age Steppers,
The Peanut Butter Conspiracy,
Connie Case,
The Happenings,
Ludus,
The Doors,
Roger Hodgson,
Dual Sessions,
Heaven 17,
Minutemen,
Pete Rock & C.L. Smooth,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.