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 Eritrea and from Toronto.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Salvador and Copenhagen.
I'm losing my edge to the art-school Lille 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 1976 at the first Chic practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer 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 Cabaret Voltaire to the dance kids.
I played it at CBGB's.
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 Major Organ And The Adding Machine. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Gastr Del Sol,
Electric Light Orchestra,
Bobby Sherman,
Major Organ And The Adding Machine,
U.S. Maple,
Skarface,
Crime,
Aaron Thompson,
Marmalade,
Second Layer,
Black Bananas,
The Music Machine,
The Motions,
48th St. Collective,
Erasure,
Marine Girls,
Marshall Jefferson,
Brand Nubian,
Nick Cave & The Bad Seeds,
The Men They Couldn't Hang,
Buzzcocks,
Massinfluence,
Eurythmics,
Au Pairs,
The Raincoats,
Bauhaus,
Eric Copeland,
Liliput,
Tropical Tobacco,
The Litter,
The Gap Band,
Ronan,
Arcadia,
Smog,
Shuggie Otis,
Deakin,
Robert Görl,
Bootsy's Rubber Band,
Jerry Gold Smith,
Public Enemy,
Eyeless In Gaza,
Charles Mingus,
MC5,
One Last Wish,
Zapp,
Pierre Henry,
Boredoms,
Quando Quango,
James White and The Blacks,
The Velvet Underground,
The Buckinghams,
Niagra,
The Fuzztones,
Fear,
The New Christs,
Ultra Naté,
Joyce Sims,
Excepter,
Gregory Isaacs,
Matthew Halsall,
Echospace,
Oppenheimer Analysis,
Little Man,
Justin Hinds & The Dominoes,
Clear Light, Clear Light, Clear Light, Clear Light.
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.