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 Albania and from Bremen.
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 1979.
I'm losing my edge.
To all the kids in Calgary and Philadelphia.
I'm losing my edge to the art-school Delhi 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when Captain Beefheart 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 Richard Hell and the Voidoids to the techno kids.
I played it at the Hacienda.
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 Andrew Hill. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal punk 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 snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Von Mondo record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Donny Hathaway,
The Move,
Outsiders,
Sun Ra Arkestra,
Mission of Burma,
Howard Jones,
Althea and Donna,
Rekid,
Kauko Röyhkä ja Narttu,
Main Source,
Red Lorry Yellow Lorry,
Trumans Water,
Skarface,
Roxy Music,
Roxette,
Jimmy McGriff,
Delta 5,
Rowland S Howard / Lydia Lunch,
Country Joe & The Fish,
ABBA,
Metal Thangz,
Cecil Taylor,
Notorious BIG live in Amsterdam,
Marmalade,
Kool Moe Dee,
Boz Scaggs,
Joyce Sims,
Deepchord,
Arthur Verocai,
Neu!,
Rapeman,
Traffic Nightmare,
K-Klass,
Nas,
The Monochrome Set,
Monks,
The Fortunes,
Lebanon Hanover,
Zero Boys,
Bang on a Can All-Stars,
Vaughan Mason & Crew,
Technova,
Brothers Johnson,
Stetsasonic,
Hardrive,
Aswad,
Anthony Braxton,
Youth Brigade,
Liliput,
Amazonics,
Schoolly D,
Electric Light Orchestra,
Josef K,
Joey Negro,
Jacques Brel,
Mary Jane Girls,
Ponytail,
Rod Modell,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.