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 Liberia and from New York.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Portland.
I'm losing my edge to the art-school Winnipeg 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe 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 Bananas to the crunk 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 Section 25. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Magazine 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?
Soft Machine,
Angels of Light & Akron/Family,
Rowland S Howard / Lydia Lunch,
The Fugs,
The Cramps,
The Real Kids,
D'Angelo,
Oppenheimer Analysis,
London Community Gospel Choir,
the Slits,
Siglo XX,
The Velvet Underground,
The United States of America,
Y Pants,
James Chance & The Contortions,
Electric Prunes,
Blossom Toes,
The Gun Club,
John Lydon,
Gary Puckett & The Union Gap,
Isaac Hayes,
Marine Girls,
Mark Hollis,
Outsiders,
Crime,
June of 44,
New Age Steppers,
Chris & Cosey,
Trumans Water,
Dennis Brown,
Bizarre Inc.,
Agent Orange,
The Invisible,
Fela Kuti,
Niagra,
Theoretical Girls,
Gerry Rafferty,
The Knickerbockers,
Lou Christie,
Slave,
Gil Scott-Heron & Brian Jackson,
Minnie Riperton,
Los Fastidios,
T. Rex,
Jawbox,
Freddie Wadling,
Lakeside,
Tim Buckley,
La Düsseldorf,
Icehouse,
Matthew Bourne,
Eric Dolphy,
Subhumans,
The Gories,
Desert Stars,
Lindisfarne,
Jeff Mills,
Funkadelic,
The Dead C,
E-Dancer,
Amazonics,
Gang Green,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.