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 Guatemala and from Paris.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1966 to 1978.
I'm losing my edge.
To all the kids in Toronto and Bologna.
I'm losing my edge to the art-school Jakarta 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 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 Notorious BIG live in Amsterdam to the jazz kids.
I played it at Cafe Wha.
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 LL Cool J. All the underground hits.
All Grey Daturas tracks. I heard you have a vinyl of every The Fall record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
The Sonics,
Nico,
James White and The Blacks,
FM Einheit,
Kurtis Blow,
The Trojans,
Youth Brigade,
Eurythmics,
David McCallum,
David Bowie,
Nation of Ulysses,
Anthony Braxton,
Pere Ubu,
Frankie Knuckles,
Pantaleimon,
The Cowsills,
Dark Day,
Second Layer,
Public Enemy,
Gary Puckett & The Union Gap,
Heaven 17,
Ken Boothe,
Amon Düül II,
Interpol,
The Residents,
The Index,
Camberwell Now,
Minutemen,
June of 44,
Ornette Coleman,
Tom Boy,
Lungfish,
DJ Style,
The Pretty Things,
Junior Murvin,
Selector Dub Narcotic,
Agitation Free,
Maurizio,
Subhumans,
Bootsy's Rubber Band,
Arcadia,
PIL,
Camron Feat. Memphis Bleek And Beenie Seigel,
A Certain Ratio,
Tubeway Army,
the Association,
Aaron Thompson,
Amon Düül,
Procol Harum,
Boz Scaggs,
DNA,
Soul II Soul,
F. McDonald,
Guru Guru,
Tommy Roe,
The Grass Roots,
Eden Ahbez,
CMW,
Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud.
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.