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 Sudan and from Portland.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Bologna and Sao Paulo.
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 güiro 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 Bluetip 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 Moss Icon. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Todd Rundgren record on German import.
I heard that you have a white label of every seminal disco 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 marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Cabaret Voltaire,
Josef K,
Ice-T,
The Detroit Cobras,
Louis and Bebe Barron,
Public Enemy,
PIL,
The Monochrome Set,
Country Teasers,
Ajijia Myrayebe,
Bang On A Can,
The Grass Roots,
The Stooges,
Joy Division,
K-Klass,
Black Flag,
Wire,
CMW,
Cal Tjader,
Loose Ends,
The Electric Prunes,
Robert Hood,
a-ha,
Parry Music,
Mr. Review,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rhythim Is Rhythim,
Eden Ahbez,
Pete Rock & C.L. Smooth,
KRS-One,
Tomorrow,
Second Layer,
Groovy Waters,
New York Dolls,
Freddie Wadling,
Altered Images,
Todd Rundgren,
Jerry's Kids,
Sly & The Family Stone,
Rod Modell,
The Raincoats,
Pylon,
Stereo Dub,
Gang Starr,
Crispy Ambulance,
The Selecter,
The Remains,
The Litter,
The Beau Brummels,
Connie Case,
Donny Hathaway,
Röyhkä ja Rättö ja Lehtisalo,
Albert Ayler,
Pierre Henry,
Man Eating Sloth,
Swell Maps,
Pulsallama,
Whodini,
Aswad,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.