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 Russia and from Houston.
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 1974.
I'm losing my edge.
To all the kids in Johannesburg and Salvador.
I'm losing my edge to the art-school Taipei 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 chamberlin 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 Althea and Donna 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 The Divine Comedy. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Amon Düül record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Monks record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Youth Brigade,
Tres Demented,
Barry Ungar,
Joyce Sims,
The Red Krayola,
Robert Görl,
Orchestral Manoeuvres in the Dark,
Amon Düül II,
MDC,
Pylon,
The Cowsills,
Moss Icon,
It's A Beautiful Day,
Camouflage,
John Coltrane,
Albert Ayler,
Chris & Cosey,
Wire,
Motorama,
These Immortal Souls,
Spoonie Gee,
Gong,
Richard Hell and the Voidoids,
Al Stewart,
X-Ray Spex,
Sly & The Family Stone,
Mark Hollis,
Kings Of Tomorrow,
48th St. Collective,
Loose Ends,
Ludus,
Average White Band,
Wally Richardson,
The Sound,
Negative Approach,
Barbara Tucker,
Maleditus Sound,
Sun City Girls,
Justin Hinds & The Dominoes,
Janne Schatter,
Derrick Morgan,
Lonnie Liston Smith,
Malaria!,
Camron Feat. Memphis Bleek And Beenie Seigel,
Neil Young,
Swell Maps,
The Monochrome Set,
Arcadia,
Bootsy's Rubber Band,
Bronski Beat,
Captain Beefheart & His Magic Band,
Spandau Ballet,
T.S.O.L.,
Section 25,
Lyres,
Massinfluence,
Scrapy,
The Wake,
The United States of America,
Letta Mbulu,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.