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 Azerbaijan and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1967 to 1975.
I'm losing my edge.
To all the kids in Seoul and Winnipeg.
I'm losing my edge to the art-school Copenhagen 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 linndrum 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 Nils Olav to the electroclash 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 One Last Wish. All the underground hits.
All Panda Bear tracks. I heard you have a vinyl of every Lou Reed 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Newcleus,
Sex Pistols,
Slave,
Wasted Youth,
Index,
De La Soul & Jungle Brothers,
Idris Muhammad,
Gil Scott Heron,
Funkadelic,
Barry Ungar,
London Community Gospel Choir,
Kas Product,
the Soft Cell,
Echospace,
Sly & The Family Stone,
John Lydon,
Cheater Slicks,
Soft Machine,
Mark Hollis,
The Techniques,
Glambeats Corp.,
New York Dolls,
Kauko Röyhkä ja Narttu,
Model 500,
Radiopuhelimet,
Ludus,
Swell Maps,
Anakelly,
Pussy Galore,
Tropical Tobacco,
Arcadia,
Junior Murvin,
Lee Hazlewood,
Crime,
Kerrie Biddell,
Ornette Coleman,
ABC,
Nils Olav,
Johnny Osbourne,
Eddi Front,
The Gories,
Robert Wyatt,
Jeff Mills,
Talk Talk,
Los Fastidios,
Wighnomy Brothers & Robag Wruhme,
Half Japanese,
Darondo,
Amon Düül II,
Marshall Jefferson,
Wire,
Ultramagnetic MC's,
Monks,
Siglo XX,
Isaac Hayes,
Sad Lovers and Giants,
Camouflage,
The Moody Blues,
Ajijia Myrayebe,
The Star Department,
Jeru the Damaja,
Quando Quango,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.