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 Papua New Guinea and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Jakarta and London.
I'm losing my edge to the art-school Winnipeg 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 linndrum 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 The Red Krayola to the rap kids.
I played it at the 40 Watt.
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 Gang Starr. All the underground hits.
All Banda Bassotti tracks. I heard you have a vinyl of every The Buckinghams record on German import.
I heard that you have a white label of every seminal funk 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 rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
a-ha,
Deutsch Amerikanische Freundschaft,
Half Japanese,
Cluster,
Yellowson,
Fugazi,
Bill Near,
Metal Thangz,
Goldenarms,
LL Cool J,
AZ,
Funkadelic,
Sixth Finger,
The Names,
The Victims,
New York Dolls,
Technova,
Talk Talk,
Rahsaan Roland Kirk,
Pagans,
Q65,
Parry Music,
Oppenheimer Analysis,
The Detroit Cobras,
Kayak,
The Gap Band,
Pete Rock & C.L. Smooth,
Cymande,
Suburban Knight,
Avey Tare's Slasher Flicks,
The Happenings,
The Associates,
Underground Resistance,
Kool G Rap & DJ Polo,
Grandmaster Flash and the Furious Five,
Ash Ra Tempel,
Faraquet,
Glenn Branca,
Khruangbin,
Bauhaus,
Niagra,
Godley & Creme,
Desert Stars,
Duran Duran,
Brand Nubian,
Crime,
Scott Walker + Sunn O))),
Aswad,
The Fall,
Girls At Our Best!,
John Cale,
Gang Green,
Icehouse,
David Axelrod,
Prince Buster,
Laurel Aitken,
Röyhkä ja Rättö ja Lehtisalo,
Glambeats Corp.,
Television Personalities,
Sister Nancy,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.