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 Estonia and from Madrid.
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 1972.
I'm losing my edge.
To all the kids in Shanghai and London.
I'm losing my edge to the art-school Salvador 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the clarinet sounds with much patience.
I was there when Holger Czukay 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 Nik Kershaw to the punk kids.
I played it at the 40 Watt.
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 Brass Construction. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Smog 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 rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your theremin and bought a 808.
I hear that you and your band have sold your 808 and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Little Man,
Sly & The Family Stone,
Howard Jones,
Jandek,
Cabaret Voltaire,
Pharaoh Sanders and the Fire Engines,
Laurel Aitken,
The Black Dice,
Stockholm Monsters,
Nick Fraelich,
Kango’s Stein Massive,
The Velvet Underground,
Jacques Brel,
The Sound,
Scrapy,
Marvin Gaye,
Qualms,
Massinfluence,
Dennis Brown,
Pole,
Fad Gadget,
Mr. Review,
Aural Exciters,
Traffic Nightmare,
New York Dolls,
Sam Rivers,
The West Coast Pop Art Experimental Band,
The Standells,
Donald Byrd,
Malaria!,
Godley & Creme,
The Gories,
Todd Terry,
Lalo Schifrin,
Gastr Del Sol,
The Smiths,
The Chocolate Watch Band,
Brothers Johnson,
Nirvana,
Jacob Miller,
Notorious Big And Bone Thugs,
The Cure,
Big Daddy Kane,
Soft Cell,
Ten City,
Electric Light Orchestra,
Goldenarms,
Radio Birdman,
Tommy Roe,
Clear Light,
Rhythim Is Rhythim,
Underground Resistance,
Kerri Chandler,
Boz Scaggs,
Andrew Hill,
Derrick May,
Brick,
The Dirtbombs,
The Gun Club,
Lou Christie,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.