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 Zimbabwe and from Philadelphia.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1975.
I'm losing my edge.
To all the kids in Manchester and New York.
I'm losing my edge to the art-school Taipei 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 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 Franke to the electroclash kids.
I played it at CBGB's.
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 Anthony Braxton. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Main Source record on German import.
I heard that you have a white label of every seminal dance 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 an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your sitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
The Victims,
Scientists,
Sun Ra Arkestra,
Peter and Kerry,
Danielle Patucci,
Gian Franco Pienzio,
Ornette Coleman,
The Doobie Brothers,
Hot Snakes,
The Fuzztones,
Japan,
Fugazi,
Easy Going,
Thompson Twins,
The Last Poets,
Lizzy Mercier Descloux,
Isaac Hayes,
Guru Guru,
Robert Wyatt,
Y Pants,
Dave Gahan,
Icehouse,
The Cosmic Jokers,
The Human League,
Motorama,
Depeche Mode,
Minnie Riperton,
Rosa Yemen,
Ash Ra Tempel,
Qualms,
Television,
The Zeros,
Vainqueur,
the Sonics,
Bob Dylan,
Aaron Thompson,
JFA,
Harmonia,
Buzzcocks,
T.S.O.L.,
The Men They Couldn't Hang,
Black Flag,
Arab on Radar,
Dual Sessions,
Half Japanese,
Kings Of Tomorrow,
Bootsy Collins,
Röyhkä ja Rättö ja Lehtisalo,
Roxette,
The West Coast Pop Art Experimental Band,
Intrusion,
Crispian St. Peters,
Dorothy Ashby,
Black Moon,
June of 44,
Janne Schatter,
Peter Gordon & Love of Life Orchestra,
Niagra,
D'Angelo,
The Remains,
Black Bananas,
8 Eyed Spy, 8 Eyed Spy, 8 Eyed Spy, 8 Eyed Spy.
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.