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 Tonga and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Tokyo.
I'm losing my edge to the art-school Sao Paulo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe 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 Arthur Verocai to the crunk kids.
I played it at the Hacienda.
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 Pussy Galore. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonic Youth,
Harry Pussy,
Steve Hackett,
Boogie Down Productions,
Pussy Galore,
Zapp,
Colin Newman,
The United States of America,
Eli Mardock,
Ronan,
Magma,
Icehouse,
Shuggie Otis,
Section 25,
ABBA,
Avey Tare & Kría Brekkan,
The Fire Engines,
The Moody Blues,
Liliput,
Joey Negro,
Saccharine Trust,
Erasure,
The Cosmic Jokers,
Dark Day,
World's Most,
Avey Tare,
The Human League,
Electric Prunes,
Vaughan Mason & Crew,
Peter and Kerry,
Severed Heads,
Essential Logic,
Alison Limerick,
Lower 48,
The Alarm Clocks,
The Golliwogs,
Echo & the Bunnymen,
Robert Hood,
Bobby Byrd,
Sunsets and Hearts,
Brass Construction,
Connie Case,
Nico,
Ultramagnetic MC's,
Radiohead,
Loose Ends,
Josef K,
Arcadia,
Donald Byrd,
Glenn Branca,
the Association,
Kenny Larkin,
Grauzone,
Juan Atkins,
Marcia Griffiths,
The Slits,
John Lydon,
FM Einheit,
Wally Richardson,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.