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 Ecuador and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Jakarta and London.
I'm losing my edge to the art-school Edmonton 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 mellotron 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 Juan Atkins to the grime kids.
I played it at the Astoria.
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 Lower 48. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every DeepChord presents Echospace record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
The West Coast Pop Art Experimental Band,
Eden Ahbez,
Albert Ayler,
B.T. Express,
Joensuu 1685,
Nas,
MC5,
Darondo,
Marmalade,
Lindisfarne,
Jerry Gold Smith,
Zero Boys,
Matthew Halsall,
Yaz,
Gabor Szabo,
The Fugs,
Saccharine Trust,
F. McDonald,
Bad Manners,
Gerry Rafferty,
The Offenders,
Girls At Our Best!,
The Shadows of Knight,
The Gladiators,
Public Enemy,
The Residents,
Symarip,
Moby Grape,
a-ha,
Outsiders,
Toni Rubio,
T. Rex,
EPMD,
Byron Stingily,
Lou Reed & Metallica,
Model 500,
The Moleskins,
Rod Modell,
Thinking Fellers Union Local 282,
Buzzcocks,
Aaron Thompson,
Black Sheep,
Echospace,
Make Up,
The Wake,
Robert Wyatt,
Avey Tare's Slasher Flicks,
Todd Rundgren,
Ajijia Myrayebe,
Jawbox,
Theoretical Girls,
Steve Hackett,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Nils Olav,
World's Most,
Kauko Röyhkä ja Narttu,
The Electric Prunes,
Funky Four + One,
John Foxx,
Don Cherry,
Television,
Mark Hollis,
The Knickerbockers, The Knickerbockers, The Knickerbockers, The Knickerbockers.
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.