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 Bologna.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Lille and Columbus.
I'm losing my edge to the art-school Bologna 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Matthew Halsall to the crunk kids.
I played it at Trash.
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 Mad Mike. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
B.T. Express,
New Age Steppers,
Pole,
The Neon Judgement,
James White and The Blacks,
Silicon Teens,
Bang on a Can All-Stars,
Echo & the Bunnymen,
The Names,
X-Ray Spex,
Sällskapet,
Agitation Free,
Scratch Acid,
The Smoke,
It's A Beautiful Day,
Half Japanese,
DJ Style,
Stiv Bators,
Jerry Gold Smith,
Teenage Jesus and the Jerks,
Ornette Coleman,
D'Angelo,
Black Sheep,
Roy Ayers,
Subhumans,
Unrelated Segments,
Jesper Dahlbäck,
Liaisons Dangereuses,
OOIOO,
The Techniques,
Dave Gahan,
Lalann,
Bobbi Humphrey,
Scientists,
Louis and Bebe Barron,
Kango’s Stein Massive,
June Days,
Agent Orange,
Grauzone,
CMW,
The Fuzztones,
Pussy Galore,
Stetsasonic,
Robert Hood,
Alison Limerick,
cv313,
Deutsch Amerikanische Freundschaft,
48th St. Collective,
Rapeman,
Fatback Band,
Mark Hollis,
kango's stein massive,
Excepter,
Con Funk Shun,
The American Breed,
Larry & the Blue Notes,
Swans,
Crime,
Andrew Hill,
Dark Day,
Country Teasers,
Supertramp,
Aswad,
Index, Index, Index, Index.
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.