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 Liechtenstein and from Bremen.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1962 to 1977.
I'm losing my edge.
To all the kids in Lagos and Copenhagen.
I'm losing my edge to the art-school Stockholm 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 Michael McDonald 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 Andrew Ashong & Theo Parrish to the rap kids.
I played it at the Troubador.
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 Pantaleimon. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every Al Stewart record on German import.
I heard that you have a white label of every seminal punk 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 synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Crash Course in Science,
Dorothy Ashby,
Fad Gadget,
Cal Tjader,
Ronan,
The Raincoats,
Hardrive,
Oblivians,
Clear Light,
Urselle,
Average White Band,
De La Soul & Jungle Brothers,
Notorious BIG live in Amsterdam,
Television,
Joe Finger,
Boogie Down Productions,
Qualms,
Juan Atkins,
K-Klass,
Kenny Larkin,
The Toasters,
Harry Pussy,
Jimmy McGriff,
The Zeros,
Hoover,
Nico,
Todd Rundgren,
ABBA,
Carl Craig,
Cameo,
Dead Boys,
Wighnomy Brothers & Robag Wruhme,
Thompson Twins,
The Dead C,
Liliput,
This Heat,
Andrew Ashong & Theo Parrish,
Panda Bear,
Y Pants,
Jawbox,
Peter and Kerry,
Todd Terry,
Supertramp,
48th St. Collective,
Eddi Front,
John Coltrane,
The Mighty Diamonds,
Banda Bassotti,
Flipper,
Mantronix,
Gregory Isaacs,
Los Fastidios,
Pere Ubu,
The Blackbyrds,
Angry Samoans,
Aaron Thompson,
Suburban Knight,
Sonic Youth,
Curtis Mayfield,
Maleditus Sound,
Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds.
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.