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 Andorra and from Manila.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Bremen and Woodstock.
I'm losing my edge to the art-school Shanghai 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 guitar 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 The Saints 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 Parry Music. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Buzzcocks,
Matthew Bourne,
Avey Tare,
Gang Green,
Hoover,
Echospace,
D'Angelo,
Colin Newman,
Subhumans,
The Smiths,
Kauko Röyhkä ja Narttu,
Big Daddy Kane,
The Pretty Things,
Electric Light Orchestra,
The Fuzztones,
Clear Light,
Eric Copeland,
OOIOO,
Harpers Bizarre,
Deepchord,
Soul II Soul,
Surgeon,
Eli Mardock,
Animal Collective,
8 Eyed Spy,
Beasts of Bourbon,
Visage,
Cluster,
One Last Wish,
Yusef Lateef,
The Names,
Joe Finger,
Rhythim Is Rhythim,
The Skatalites,
Sad Lovers and Giants,
Rowland S Howard / Lydia Lunch,
Nick Cave & The Bad Seeds,
Brass Construction,
Ponytail,
the Soft Cell,
Sunsets and Hearts,
Little Man,
Eve St. Jones,
Grandmaster Flash and the Furious Five,
Goldenarms,
Danielle Patucci,
Warren Ellis,
MDC,
Tomorrow,
Jimmy McGriff,
The Gladiators,
The American Breed,
Pete Rock & C.L. Smooth,
Gil Scott Heron,
Lee Hazlewood,
Kango’s Stein Massive,
Robert Görl,
Quantec,
Arthur Verocai,
Alphaville, Alphaville, Alphaville, Alphaville.
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.