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 Hungary and from Seoul.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Salvador.
I'm losing my edge to the art-school Calgary 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 linndrum 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 The Busters to the dance 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 Groovy Waters. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Barry Ungar 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Tom Boy,
Bobby Womack,
Fluxion,
Monolake,
Drive Like Jehu,
Mad Mike,
CMW,
Banda Bassotti,
Stockholm Monsters,
Notorious BIG live in Amsterdam,
The Grass Roots,
The Alarm Clocks,
Bobbi Humphrey,
The Monks,
T.S.O.L.,
Kurtis Blow,
Visage,
AZ,
Scrapy,
Thinking Fellers Union Local 282,
Todd Terry,
Fifty Foot Hose,
Television,
The Remains,
Agitation Free,
Andrew Ashong & Theo Parrish,
Neil Young,
The Royal Family And The Poor,
Be Bop Deluxe,
Second Layer,
John Cale,
Selector Dub Narcotic,
Half Japanese,
Excepter,
The Invisible,
Pussy Galore,
Siglo XX,
The Cowsills,
Jeff Mills,
Bootsy Collins,
Nas,
Lou Reed & John Cale,
The Young Rascals,
Boredoms,
Soul II Soul,
Deadbeat,
Simply Red,
Jesper Dahlbäck,
Vaughan Mason & Crew,
The Raincoats,
Avey Tare & Kría Brekkan,
Spandau Ballet,
Magazine,
Marc Romboy vs. Booka Shade,
The Trojans,
The Martian,
This Heat,
The Doobie Brothers,
Buzzcocks,
Matthew Halsall,
Ohio Players,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.