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 Cape Verde and from Paris.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Bologna and Portland.
I'm losing my edge to the art-school Jakarta 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord 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 Eric B and Rakim to the rock 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 Eric B and Rakim. All the underground hits.
All Fear tracks. I heard you have a vinyl of every Marc Almond 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 '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Absolute Body Control,
Bobby Hutcherson,
Bill Wells,
David Bowie,
the Soft Cell,
Andrew Ashong & Theo Parrish,
Bizarre Inc.,
The Smiths,
the Germs,
A Certain Ratio,
Terrestrial Tones,
Ten City,
Jimmy McGriff,
Con Funk Shun,
Tropical Tobacco,
Lonnie Liston Smith,
Eddi Front,
Blancmange,
Rahsaan Roland Kirk,
Sandy B,
Fifty Foot Hose,
Black Bananas,
Eve St. Jones,
FM Einheit,
Dark Day,
The Zeros,
Art Ensemble Of Chicago,
Fluxion,
Aswad,
Eric Dolphy,
Sight & Sound,
Saccharine Trust,
Popol Vuh,
Oneida,
Notorious BIG live in Amsterdam,
The Cosmic Jokers,
Brick,
Cybotron,
X-102,
Kaleidoscope,
La Düsseldorf,
Josef K,
the Sonics,
Mo-Dettes,
Gil Scott Heron,
Strawberry Alarm Clock,
Glenn Branca,
Jerry Gold Smith,
Nils Olav,
The Mojo Men,
The United States of America,
Bang On A Can,
Lafayette Afro Rock Band,
Nick Cave & The Bad Seeds,
Connie Case,
Dorothy Ashby,
Schoolly D,
The Neon Judgement,
The Jesus and Mary Chain,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.