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 Austria and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1978.
I'm losing my edge.
To all the kids in Delhi and Hong Kong.
I'm losing my edge to the art-school Calgary 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Brick to the electroclash kids.
I played it at the Crocodile.
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 Mantronix. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Organ,
La Düsseldorf,
Interpol,
Black Pus,
Drive Like Jehu,
Delta 5,
Juan Atkins,
The Mummies,
Eve St. Jones,
Rosa Yemen,
L. Decosne,
Sugar Minott,
the Normal,
Ludus,
Nick Fraelich,
Ponytail,
The Count Five,
Beasts of Bourbon,
The Smoke,
DNA,
Gary Puckett & The Union Gap,
The New Christs,
The Standells,
Fad Gadget,
B.T. Express,
Strawberry Alarm Clock,
Sun Ra Arkestra,
Ituana,
Peter Gordon & Love of Life Orchestra,
Make Up,
Au Pairs,
Sad Lovers and Giants,
The Young Rascals,
Pulsallama,
Alice Coltrane,
Nirvana,
The Peanut Butter Conspiracy,
Urselle,
Amon Düül,
New Order,
Boogie Down Productions,
The Victims,
Loose Ends,
Freddie Wadling,
Barbara Tucker,
Thompson Twins,
Glenn Branca,
The Cosmic Jokers,
Lightning Bolt,
Bootsy Collins,
Gian Franco Pienzio,
Ralphi Rosario,
Whodini,
The Searchers,
JFA,
Babytalk,
Sun City Girls,
Qualms,
Andrew Hill,
Supertramp,
Ten City,
Sixth Finger,
Inner City,
The Toasters, The Toasters, The Toasters, The Toasters.
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.