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 El Salvador and from Johannesburg.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1973.
I'm losing my edge.
To all the kids in Columbus and Shanghai.
I'm losing my edge to the art-school Portland 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 organ sounds with much patience.
I was there when Robert Palmer 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 Bananas to the funk kids.
I played it at the Spitz.
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 Nico. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every Isaac Hayes record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
The Blackbyrds,
Radio Birdman,
Gil Scott Heron,
Erykah Badu,
Mark Hollis,
Patti Smith,
Parry Music,
The Cramps,
The Raincoats,
the Bar-Kays,
MC5,
Be Bop Deluxe,
Althea and Donna,
E-Dancer,
Morten Harket,
X-Ray Spex,
Stockholm Monsters,
Dennis Brown,
Minnie Riperton,
Mo-Dettes,
Major Organ And The Adding Machine,
Flipper,
Gregory Isaacs,
Suburban Knight,
Khruangbin,
Rhythim Is Rhythim,
Deepchord,
Archie Shepp,
Livin' Joy,
Gichy Dan,
Rowland S Howard / Lydia Lunch,
Faust,
Gil Scott-Heron and Jamie xx,
Rufus Thomas,
Blake Baxter,
Arthur Verocai,
Bizarre Inc.,
OOIOO,
Urselle,
Angels of Light & Akron/Family,
Alice Coltrane,
The Residents,
Judy Mowatt,
Suicide,
The Searchers,
The Techniques,
Röyhkä ja Rättö ja Lehtisalo,
Rahsaan Roland Kirk,
Symarip,
Sandy B,
John Coltrane,
Zero Boys,
Bronski Beat,
Pierre Henry,
Jesper Dahlback,
The Fall,
Ossler,
Gary Puckett & The Union Gap,
Rod Modell,
Carl Craig,
Soft Cell,
Ituana, Ituana, Ituana, Ituana.
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.