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 United Kingdom and from Portland.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1973.
I'm losing my edge.
To all the kids in Milan and Hong Kong.
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 mellotron 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 The Barracudas to the techno kids.
I played it at CBGB's.
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 Con Funk Shun. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Kerri Chandler 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Scion record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Kango’s Stein Massive,
The Star Department,
Animal Collective,
Suburban Knight,
Jacob Miller,
Thompson Twins,
Peter and Kerry,
10cc,
T. Rex,
Drive Like Jehu,
The Wake,
Fluxion,
One Last Wish,
The Leaves,
Faust,
Angry Samoans,
Graham Central Station,
Wings,
The Monochrome Set,
Delta 5,
The Dave Clark Five,
Half Japanese,
The Sisters of Mercy,
Avey Tare,
Roy Ayers,
Ituana,
Joey Negro,
Siglo XX,
The Real Kids,
Tropical Tobacco,
Jesper Dahlbäck,
Arab on Radar,
A Certain Ratio,
Sexual Harrassment,
The Index,
48th St. Collective,
Pharaoh Sanders and the Fire Engines,
Cal Tjader,
Ultramagnetic MC's,
Fat Boys,
Wally Richardson,
Popol Vuh,
The Durutti Column,
AZ,
Bootsy Collins,
Porter Ricks,
Gil Scott-Heron and Jamie xx,
Mark Hollis,
Hot Snakes,
Ponytail,
The Move,
Kenny Larkin,
The Techniques,
John Foxx,
Kas Product,
The J.B.'s,
Technova,
Das Ding,
Nation of Ulysses,
JFA,
Black Pus,
The Barracudas,
Rapeman, Rapeman, Rapeman, Rapeman.
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.