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 Guinea 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 1967 to 1974.
I'm losing my edge.
To all the kids in New York and Bologna.
I'm losing my edge to the art-school Philadelphia 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin 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 Zero Boys to the rap 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 Rhythim Is Rhythim. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Funky Four + One record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Jerry's Kids record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Crash Course in Science,
Andrew Ashong & Theo Parrish,
The Moleskins,
The Dead C,
Charles Mingus,
Main Source,
Liliput,
The Five Americans,
Oppenheimer Analysis,
LL Cool J,
Sarah Menescal,
Strawberry Alarm Clock,
X-102,
Ultra Naté,
Deakin,
Letta Mbulu,
Bang on a Can All-Stars,
The Saints,
Jesper Dahlback,
Lou Reed & John Cale,
Minor Threat,
Connie Case,
Marc Romboy vs. Booka Shade,
Pagans,
The Pop Group,
Camouflage,
The Gap Band,
Rahsaan Roland Kirk,
The Cowsills,
Funkadelic,
Sixth Finger,
The Men They Couldn't Hang,
Hoover,
OOIOO,
Pantytec,
Scott Walker + Sunn O))),
T. Rex,
The J.B.'s,
Warsaw,
Clear Light,
the Slits,
The Fortunes,
The Angels of Light,
Gastr Del Sol,
The Fuzztones,
The Associates,
Nik Kershaw,
Rhythm & Sound,
Danielle Patucci,
Morten Harket,
Duran Duran,
Spandau Ballet,
The Divine Comedy,
Sight & Sound,
Visionaries,LMNO, T- Love & Iriscience,
Stiv Bators,
Robert Wyatt,
Idris Muhammad,
Mantronix,
Can,
Eric Copeland,
F. McDonald, F. McDonald, F. McDonald, F. McDonald.
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.