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 Austria and from Philadelphia.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Lille.
I'm losing my edge to the art-school Johannesburg 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 theremin sounds with much patience.
I was there when David Bowie 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 Black Sheep to the electroclash kids.
I played it at the Crocodile.
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 Crispian St. Peters. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Lindisfarne 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
The Neon Judgement,
Black Sheep,
Scientists,
Newcleus,
Arab on Radar,
Rhythim Is Rhythim,
Funky Four + One,
Wally Richardson,
Youth Brigade,
The Sound,
48th St. Collective,
Rakim,
Pete Rock & C.L. Smooth,
Eve St. Jones,
Connie Case,
The Cramps,
Ultravox,
Black Pus,
Monolake,
Pere Ubu,
Babytalk,
Reagan Youth,
Mad Mike,
The Gladiators,
Oppenheimer Analysis,
Jeru the Damaja,
Lalann,
Laurel Aitken,
David Axelrod,
Excepter,
Wighnomy Brothers & Robag Wruhme,
Jandek,
Bobby Hutcherson,
The Zeros,
Leonard Cohen,
Slave,
Kaleidoscope,
Dead Boys,
Fela Kuti,
Pharoah Sanders,
Michelle Simonal,
Kerrie Biddell,
The Associates,
The Chocolate Watch Band,
The Misunderstood,
Morten Harket,
X-102,
Subhumans,
Blancmange,
Aural Exciters,
Buzzcocks,
Pussy Galore,
Ajijia Myrayebe,
Pylon,
Lucky Dragons,
Con Funk Shun,
Dawn Penn,
The Divine Comedy,
Sound Behaviour,
Lou Reed & John Cale,
Loose Ends,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.