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 Qatar and from Winnipeg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1973.
I'm losing my edge.
To all the kids in Portland and Tokyo.
I'm losing my edge to the art-school Lyon 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 rhodes sounds with much patience.
I was there when Holger Czukay 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 Country Teasers to the jazz 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 Lafayette Afro Rock Band. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
Michelle Simonal,
B.T. Express,
Masters at Work,
Fatback Band,
Lakeside,
The Associates,
Das Ding,
Lungfish,
Y Pants,
Tropical Tobacco,
R.M.O.,
Altered Images,
The Gun Club,
Underground Resistance,
Brick,
Popol Vuh,
Blancmange,
Monolake,
MC5,
The Selecter,
the Germs,
the Soft Cell,
Eurythmics,
Newcleus,
Angry Samoans,
Terry Callier,
Spoonie Gee,
Marc Almond,
Stiv Bators,
Qualms,
Ludus,
MDC,
cv313,
Siglo XX,
Gary Puckett & The Union Gap,
the Fania All-Stars,
Joensuu 1685,
OOIOO,
Kaleidoscope,
X-102,
Lonnie Liston Smith,
New York Dolls,
Toni Rubio,
Barry Ungar,
The Skatalites,
Porter Ricks,
The Raincoats,
Gil Scott-Heron & Brian Jackson,
Rosa Yemen,
Deadbeat,
Camberwell Now,
Royal Trux,
Captain Beefheart & His Magic Band,
the Association,
Suburban Knight,
Niagra,
June Days,
Severed Heads,
The Smiths,
Skriet,
Aswad, Aswad, Aswad, Aswad.
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.