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 Panama and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Toronto and Calgary.
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 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 Visage to the techno kids.
I played it at the Spitz.
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 Lebanon Hanover. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Dr. Dre and Snoop Doggy Dog record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
Ludus,
AZ,
Peter Gordon & Love of Life Orchestra,
Rakim,
Subhumans,
Oneida,
Johnny Osbourne,
Echospace,
Cecil Taylor,
Big Daddy Kane,
Marmalade,
Kenny Larkin,
Cluster,
Bobby Sherman,
Soft Machine,
Dr. Dre and Snoop Doggy Dog,
The Litter,
Jandek,
Wolf Eyes,
Clear Light,
Bootsy's Rubber Band,
Bizarre Inc.,
Scion,
Jawbox,
Ultimate Spinach,
Blake Baxter,
The Gun Club,
Jesper Dahlbäck,
Radio Birdman,
Alice Coltrane,
Suburban Knight,
Franke,
The Wake,
Lower 48,
The Birthday Party,
The Cure,
The Last Poets,
Marcia Griffiths,
X-Ray Spex,
Excepter,
Wire,
Connie Case,
Bang On A Can,
Black Moon,
Aloha Tigers,
June of 44,
Alton Ellis,
MC5,
Roy Ayers,
Heavy D & The Boyz,
Barclay James Harvest,
Thee Headcoats,
The Victims,
Crash Course in Science,
Royal Trux,
Popol Vuh,
Kauko Röyhkä ja Narttu,
Skarface,
Vainqueur,
Can,
DNA, DNA, DNA, DNA.
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.