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 Liechtenstein and from Columbus.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1970.
I'm losing my edge.
To all the kids in London and Jakarta.
I'm losing my edge to the art-school Houston 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer 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 World's Most to the disco kids.
I played it at the Spitz.
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 Saccharine Trust. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Heaven 17 record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
The Slits,
Rakim,
John Lydon,
Index,
The Tremeloes,
Black Sheep,
Harry Pussy,
Roxy Music,
Black Bananas,
Symarip,
Sarah Menescal,
Angry Samoans,
Das Ding,
Circle Jerks,
La Düsseldorf,
Zero Boys,
Archie Shepp,
Delta 5,
Andrew Hill,
Altered Images,
David Bowie,
Alison Limerick,
Fela Kuti,
Amazonics,
Judy Mowatt,
Electric Prunes,
Bizarre Inc.,
The Moody Blues,
Panda Bear,
Pussy Galore,
In Retrospect,
Marine Girls,
The Doors,
Livin' Joy,
Sister Nancy,
ABBA,
Grandmaster Flash and the Furious Five,
The Gap Band,
James White and The Blacks,
John Cale,
Gabor Szabo,
Erasure,
Joyce Sims,
The Chocolate Watch Band,
Scott Walker,
Oppenheimer Analysis,
Maurizio,
Moebius,
Godley & Creme,
Unrelated Segments,
Amon Düül II,
Youth Brigade,
Eurythmics,
B.T. Express,
Peter and Kerry,
Brothers Johnson,
Glambeats Corp.,
Liaisons Dangereuses,
Avey Tare,
Skaos,
Visionaries,LMNO, T- Love & Iriscience,
Terrestrial Tones,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.