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 Bahamas and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1963 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Portland.
I'm losing my edge to the art-school Philadelphia 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Don Cherry to the dance 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 Gladiators. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every Gary Puckett & The Union Gap record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
The Shadows of Knight,
Stereo Dub,
Swans,
Judy Mowatt,
Brass Construction,
James White and The Blacks,
The United States of America,
The Peanut Butter Conspiracy,
Ohio Players,
the Bar-Kays,
Ronnie Foster,
Neil Young & Crazy Horse,
Joyce Sims,
Mantronix,
Grandmaster Flash,
Wighnomy Brothers & Robag Wruhme,
Bootsy Collins,
Fifty Foot Hose,
Michelle Simonal,
Liliput,
MDC,
Al Stewart,
The Martian,
Deutsch Amerikanische Freundschaft,
Glambeats Corp.,
Soul II Soul,
Nils Olav,
Kango’s Stein Massive,
Ajijia Myrayebe,
Bobby Byrd,
U.S. Maple,
Roxy Music,
Kevin Saunderson,
Unwound,
Lucky Dragons,
The Victims,
John Coltrane,
Danielle Patucci,
Loose Ends,
OOIOO,
The Alarm Clocks,
Procol Harum,
Don Cherry,
Arab on Radar,
Ralphi Rosario,
L. Decosne,
Siglo XX,
Major Organ And The Adding Machine,
Crispy Ambulance,
Barbara Tucker,
Angels of Light & Akron/Family,
the Human League,
The Sonics,
the Soft Cell,
Franke,
Eyeless In Gaza,
Stetsasonic,
Bizarre Inc.,
Adolescents,
Can,
Glenn Branca,
Zapp, Zapp, Zapp, Zapp.
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.