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 Libya and from Hong Kong.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Tehran and Copenhagen.
I'm losing my edge to the art-school Taipei 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the theremin 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 Desert Stars to the dance kids.
I played it at the Roxy.
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 Al Stewart. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Young Rascals,
Drexciya,
the Normal,
Chris & Cosey,
AZ,
Dark Day,
kango's stein massive,
Bang on a Can All-Stars,
Grandmaster Flash and the Furious Five,
Magazine,
The Cramps,
The Busters,
John Holt,
Sun Ra,
Symarip,
The Cowsills,
Bad Manners,
Gabor Szabo,
Scrapy,
The Black Dice,
Mission of Burma,
the Soft Cell,
Echospace,
Pantytec,
cv313,
Boz Scaggs,
Wally Richardson,
Amazonics,
Reuben Wilson,
Fatback Band,
EPMD,
Patti Smith,
Sam Rivers,
Accadde A,
Kango’s Stein Massive,
Howard Jones,
Gil Scott-Heron and Jamie xx,
The Angels of Light,
The Associates,
Wasted Youth,
Japan,
The Techniques,
Spandau Ballet,
The Mummies,
Crash Course in Science,
Index,
Lafayette Afro Rock Band,
Marshall Jefferson,
Pylon,
Johnny Osbourne,
K-Klass,
The Monochrome Set,
Desert Stars,
Television Personalities,
Archie Shepp,
Art Ensemble Of Chicago,
Smog,
PIL,
The Electric Prunes,
Nils Olav,
Girls At Our Best!,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.