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 Namibia and from Bremen.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1977.
I'm losing my edge.
To all the kids in Mumbai and Milan.
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 1980 at the first Cybotron practice in a loft in Detroit.
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 Chris & Cosey to the dance kids.
I played it at the Roxy.
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 Max Romeo. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Lebanon Hanover,
Notorious BIG live in Amsterdam,
Charles Mingus,
Hoover,
Morten Harket,
Black Bananas,
Minor Threat,
Roxy Music,
Clear Light,
Intrusion,
Supertramp,
Accadde A,
Rahsaan Roland Kirk,
Neu!,
World's Most,
Gong,
Visage,
Kayak,
The Electric Prunes,
Youth Brigade,
Television Personalities,
Mark Hollis,
The Cowsills,
June of 44,
The Sound,
OOIOO,
Aural Exciters,
Eurythmics,
Ultravox,
Roger Hodgson,
Flash Fearless,
the Fania All-Stars,
One Last Wish,
Howard Jones,
Rhythim Is Rhythim,
Radiopuhelimet,
Bobby Sherman,
Popol Vuh,
Joe Finger,
Judy Mowatt,
The Toasters,
Joensuu 1685,
Lee Hazlewood,
Josef K,
Jimmy McGriff,
It's A Beautiful Day,
Wally Richardson,
Nils Olav,
the Soft Cell,
Crooked Eye,
James Chance & The Contortions,
Rhythm & Sound,
Country Joe & The Fish,
Q65,
Echospace,
Todd Terry,
The Misunderstood,
Throbbing Gristle,
PIL,
Spandau Ballet,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.