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 Houston.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Taipei and Tehran.
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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 The Doobie Brothers to the electroclash 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 Infiniti. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Andrew Hill 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 '90s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Wake record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crooked Eye,
Rhythim Is Rhythim,
Kango’s Stein Massive,
Bill Near,
Lower 48,
John Lydon,
The Fortunes,
Gang Green,
Blancmange,
Livin' Joy,
Avey Tare,
The Dirtbombs,
Radiopuhelimet,
Bluetip,
Gian Franco Pienzio,
Peter Gordon & Love of Life Orchestra,
The Selecter,
Chrome,
Kerri Chandler,
Kool G Rap & DJ Polo,
Barbara Tucker,
Icehouse,
Don Cherry,
Thee Headcoats,
Talk Talk,
Brass Construction,
Lyres,
Kauko Röyhkä ja Narttu,
Glambeats Corp.,
Joyce Sims,
EPMD,
Patti Smith,
Beasts of Bourbon,
Scan 7,
Outsiders,
Andrew Hill,
Aural Exciters,
June of 44,
Harry Pussy,
Pole,
Eli Mardock,
The Beau Brummels,
Harmonia,
Marshall Jefferson,
Faraquet,
Thinking Fellers Union Local 282,
Tropical Tobacco,
Terrestrial Tones,
Sex Pistols,
Grandmaster Flash and the Furious Five,
Fluxion,
Drexciya,
The United States of America,
Jeff Lynne,
Ken Boothe,
The Barracudas,
The Sound,
Gang Starr,
Michelle Simonal,
Dr. Dre and Snoop Doggy Dog,
Fugazi,
The Names,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.