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 Papua New Guinea and from Lille.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Milan.
I'm losing my edge to the art-school Copenhagen 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe 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 Essential Logic to the techno kids.
I played it at the Crocodile.
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 Pagans. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Average White Band record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Albert Ayler,
Liaisons Dangereuses,
Minor Threat,
Girls At Our Best!,
Ornette Coleman,
Ralphi Rosario,
Ohio Players,
Big Daddy Kane,
Richard Hell and the Voidoids,
Country Teasers,
Marc Almond,
Barclay James Harvest,
Avey Tare,
Lou Reed,
Nik Kershaw,
Crime,
Bobby Sherman,
Selector Dub Narcotic,
Sun City Girls,
Spoonie Gee,
Joe Finger,
The Buckinghams,
Barry Ungar,
The Music Machine,
The Smoke,
Adolescents,
Black Pus,
Cameo,
Sexual Harrassment,
Vaughan Mason & Crew,
Anthony Braxton,
Leonard Cohen,
June of 44,
The Doobie Brothers,
Eric B and Rakim,
Bang On A Can,
Aaron Thompson,
Ultramagnetic MC's,
AZ,
Alison Limerick,
Jesper Dahlbäck,
Japan,
Gil Scott-Heron and Jamie xx,
Robert Hood,
Erykah Badu,
Oblivians,
Fear,
E-Dancer,
X-102,
John Holt,
Lalo Schifrin,
Major Organ And The Adding Machine,
Soul II Soul,
The Tremeloes,
Avey Tare & Kría Brekkan,
Monks,
Boredoms,
Manfred Mann's Earth Band,
Ossler,
Peter & Gordon,
Gastr Del Sol,
The West Coast Pop Art Experimental Band,
Bluetip, Bluetip, Bluetip, Bluetip.
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.