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 Korea North and from Houston.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Beijing and Manila.
I'm losing my edge to the art-school Hong Kong 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 1976 at the first Chic practice in a loft in New York.
I was working on the marimba 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 Fort Wilson Riot to the grunge kids.
I played it at the Hacienda.
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 Anthony Braxton. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every The Real Kids 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 '90s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Trojans record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Pere Ubu,
John Foxx,
the Sonics,
This Heat,
Sexual Harrassment,
The Black Dice,
Sound Behaviour,
Talk Talk,
Marc Almond,
Hot Snakes,
Isaac Hayes,
The United States of America,
Dorothy Ashby,
Kayak,
Drexciya,
Television Personalities,
The Shadows of Knight,
Los Fastidios,
Glenn Branca,
Captain Beefheart & His Magic Band,
Depeche Mode,
Livin' Joy,
The Index,
These Immortal Souls,
Sex Pistols,
Spandau Ballet,
Bronski Beat,
Pete Rock & C.L. Smooth,
New York Dolls,
Strawberry Alarm Clock,
Agitation Free,
It's A Beautiful Day,
Deakin,
Eurythmics,
Kurtis Blow,
Justin Hinds & The Dominoes,
Bobbi Humphrey,
Robert Wyatt,
The Tremeloes,
Chris Corsano,
The Mighty Diamonds,
Matthew Halsall,
Skarface,
Tropical Tobacco,
Alice Coltrane,
Lee Hazlewood,
John Holt,
Fort Wilson Riot,
The Toasters,
Josef K,
Tim Buckley,
The Barracudas,
Bluetip,
Moebius,
Bobby Byrd,
The Durutti Column,
Angels of Light & Akron/Family,
Marine Girls,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.