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 Australia and from Glasgow.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Portland and Calgary.
I'm losing my edge to the art-school Bremen 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the guitar sounds with much patience.
I was there when Tom Verlaine 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 Crime to the grime 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 X-101. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every Mandrill 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 '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barbara Tucker,
Ossler,
The Gories,
Eric Copeland,
Reagan Youth,
Bobby Hutcherson,
Newcleus,
Nils Olav,
Interpol,
Silicon Teens,
Pere Ubu,
The Remains,
Mark Hollis,
Tomorrow,
Monks,
Glambeats Corp.,
B.T. Express,
Shuggie Otis,
Wolf Eyes,
Red Lorry Yellow Lorry,
Absolute Body Control,
Gil Scott-Heron & Brian Jackson,
Al Stewart,
Idris Muhammad,
E-Dancer,
Camberwell Now,
Soul II Soul,
The Pop Group,
Clear Light,
Hashim,
Rites of Spring,
James White and The Blacks,
Minutemen,
Ituana,
Gang Gang Dance,
JFA,
Section 25,
DNA,
Nick Fraelich,
Shoche,
The Stooges,
Pharoah Sanders,
The Blues Magoos,
Sugar Minott,
Quadrant,
Vaughan Mason & Crew,
Sight & Sound,
John Lydon,
Erasure,
Gian Franco Pienzio,
T.S.O.L.,
Leonard Cohen,
Sound Behaviour,
Stockholm Monsters,
World's Most,
Joy Division,
The West Coast Pop Art Experimental Band,
Kurtis Blow,
Ultimate Spinach, Ultimate Spinach, Ultimate Spinach, Ultimate Spinach.
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.