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 Monaco and from Sao Paulo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
I'm losing my edge to the art-school Winnipeg 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 rhodes 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 Black Moon to the funk 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 The Barracudas. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Barclay James Harvest 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 '70s cut and another box set from the '90s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your guitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Dead Boys,
Piero Umiliani,
Godley & Creme,
Captain Beefheart & His Magic Band,
The Index,
Metal Thangz,
Notorious BIG live in Amsterdam,
Junior Murvin,
Pierre Henry,
Jawbox,
Buzzcocks,
Lakeside,
Cal Tjader,
Aloha Tigers,
Nas,
Pere Ubu,
Ultravox,
Matthew Bourne,
Nils Olav,
The Martian,
The Count Five,
Susan Cadogan,
Brothers Johnson,
Glambeats Corp.,
Jesper Dahlbäck,
Camouflage,
Pylon,
Grandmaster Flash and the Furious Five,
The Motions,
Circle Jerks,
AZ,
Niagra,
The Barracudas,
Stockholm Monsters,
John Foxx,
Soft Machine,
Idris Muhammad,
Average White Band,
The Sisters of Mercy,
Lee Hazlewood,
Pharaoh Sanders and the Fire Engines,
Maleditus Sound,
Morten Harket,
Bobby Womack,
This Heat,
Youth Brigade,
The Offenders,
Byron Stingily,
B.T. Express,
The Monochrome Set,
Deutsch Amerikanische Freundschaft,
Avey Tare,
Schoolly D,
Gang of Four,
Eric Dolphy,
Duran Duran,
Goldenarms,
Brand Nubian,
Jacques Brel,
Nik Kershaw,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.