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 Kiribati and from Hong Kong.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1976.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
I'm losing my edge to the art-school Edmonton 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 Lou Reed 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 Moss Icon to the disco kids.
I played it at the Astoria.
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 Faust. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Hutcherson,
The Slits,
Malaria!,
Robert Wyatt,
Roy Ayers Ubiquity,
Gary Puckett & The Union Gap,
De La Soul & Jungle Brothers,
The Star Department,
Lou Reed & John Cale,
Bob Dylan,
Alice Coltrane,
Groovy Waters,
Vladislav Delay,
the Germs,
Symarip,
Thee Headcoats,
Scrapy,
Country Joe & The Fish,
The Shadows of Knight,
The Chocolate Watch Band,
The Moleskins,
Soul Sonic Force,
Whodini,
The Jesus and Mary Chain,
Rowland S Howard / Lydia Lunch,
Rufus Thomas,
Neil Young,
Morten Harket,
Los Fastidios,
Sunsets and Hearts,
Khruangbin,
Monolake,
Black Bananas,
Qualms,
Bang on a Can All-Stars,
Saccharine Trust,
The Blues Magoos,
R.M.O.,
Inner City,
The Men They Couldn't Hang,
Loose Ends,
Oblivians,
Lebanon Hanover,
Sexual Harrassment,
It's A Beautiful Day,
Tubeway Army,
Zapp,
David Axelrod,
the Slits,
AZ,
Art Ensemble Of Chicago,
Fela Kuti,
Strawberry Alarm Clock,
Laurel Aitken,
the Sonics,
Jeff Mills,
Toni Rubio,
Cal Tjader,
Graham Central Station,
The Offenders,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.