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 Egypt and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Bologna and London.
I'm losing my edge to the art-school Salvador 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 Flipper to the electroclash kids.
I played it at the Troubador.
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 Lou Christie. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Babytalk record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharoah Sanders,
Zero Boys,
David Axelrod,
Funkadelic,
Eric B and Rakim,
Al Stewart,
It's A Beautiful Day,
Red Lorry Yellow Lorry,
Unrelated Segments,
Talk Talk,
The Selecter,
OOIOO,
Dorothy Ashby,
X-101,
Kenny Larkin,
Anthony Braxton,
Alice Coltrane,
The Sonics,
Dennis Brown,
Johnny Osbourne,
Marmalade,
Gang Gang Dance,
Ludus,
T.S.O.L.,
Little Man,
Terrestrial Tones,
The Pretty Things,
Brass Construction,
Notorious BIG live in Amsterdam,
the Human League,
The New Christs,
Barrington Levy,
Newcleus,
Ultravox,
Mark Hollis,
Mo-Dettes,
Jeru the Damaja,
The Flesh Eaters,
Gregory Isaacs,
L. Decosne,
Supertramp,
Moss Icon,
Kaleidoscope,
Babytalk,
Dawn Penn,
Shuggie Otis,
Lafayette Afro Rock Band,
Maleditus Sound,
Juan Atkins,
Joyce Sims,
Cabaret Voltaire,
R.M.O.,
The Residents,
Black Moon,
Major Organ And The Adding Machine,
Organ,
Kurtis Blow,
Scratch Acid,
Erasure,
The Vogues,
Lebanon Hanover,
Jimmy McGriff,
The United States of America,
Pierre Henry,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.