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 Maldives and from Toronto.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Bremen and Manila.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Fluxion to the dance 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 U.S. Maple. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Connie Case 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 '90s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Echospace,
Funky Four + One,
Nik Kershaw,
The Associates,
Cabaret Voltaire,
the Germs,
Nick Cave & The Bad Seeds,
Metal Thangz,
Yazoo,
Selector Dub Narcotic,
Gerry Rafferty,
The Index,
H. Thieme,
The West Coast Pop Art Experimental Band,
The Mojo Men,
Bauhaus,
Peter & Gordon,
The Dave Clark Five,
Scientists,
Basic Channel,
Dorothy Ashby,
Throbbing Gristle,
Andrew Ashong & Theo Parrish,
CMW,
Tropical Tobacco,
Rowland S Howard / Lydia Lunch,
Rekid,
Thee Headcoats,
Gong,
Pylon,
Fela Kuti,
Neu!,
The Slackers,
Eric B and Rakim,
The Sisters of Mercy,
Black Sheep,
Technova,
Public Enemy,
Chris & Cosey,
Skriet,
Louis and Bebe Barron,
Sun Ra,
Pet Shop Boys,
Oblivians,
The Five Americans,
Babytalk,
Motorama,
The Fugs,
Erasure,
Sister Nancy,
Magma,
Minny Pops,
The Royal Family And The Poor,
Loose Ends,
Vaughan Mason & Crew,
Intrusion,
Cluster,
The Trojans,
Crime,
Tears for Fears,
Fatback Band,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.