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 Haiti and from Mexico City.
But I was there.
I was there in 1973.
I was there at the first Television 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 1965 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
I'm losing my edge to the art-school Johannesburg 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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet 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 David McCallum to the electroclash kids.
I played it at CBGB's.
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 Ronan. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Hasil Adkins record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
Bluetip,
Henry Cow,
Unrelated Segments,
Bad Manners,
MC5,
Harpers Bizarre,
Sam Rivers,
Animal Collective,
Glenn Branca,
Motorama,
Gerry Rafferty,
The Black Dice,
Jeff Mills,
The Litter,
Grandmaster Flash and the Furious Five,
Matthew Bourne,
Nils Olav,
the Human League,
Danielle Patucci,
Yellowson,
The Peanut Butter Conspiracy,
The Selecter,
The Doors,
Neu!,
Make Up,
FM Einheit,
Throbbing Gristle,
The West Coast Pop Art Experimental Band,
Bronski Beat,
Sun City Girls,
La Düsseldorf,
De La Soul & Jungle Brothers,
The Alarm Clocks,
Ohio Players,
Bang on a Can All-Stars,
Pharoah Sanders,
Camron Feat. Memphis Bleek And Beenie Seigel,
Nico,
Notorious Big And Bone Thugs,
The Beau Brummels,
Rites of Spring,
The Royal Family And The Poor,
Barclay James Harvest,
Amon Düül II,
Skarface,
Judy Mowatt,
Avey Tare & Kría Brekkan,
The Misunderstood,
Zero Boys,
June of 44,
Rod Modell,
The Pop Group,
Nick Fraelich,
Sun Ra,
Tomorrow,
Dead Boys,
Fad Gadget,
The Happenings,
Moby Grape,
Charles Mingus,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.