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 Denmark and from Columbus.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 Johannesburg and Columbus.
I'm losing my edge to the art-school Spokane 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 Sexual Harrassment to the crunk 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 Roy Ayers. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Germs,
Hardrive,
Dorothy Ashby,
Skriet,
Fifty Foot Hose,
Sparks,
Scott Walker,
The Black Dice,
The Five Americans,
Yazoo,
Bizarre Inc.,
Excepter,
Masters at Work,
Eyeless In Gaza,
Throbbing Gristle,
Brand Nubian,
Liliput,
The Birthday Party,
Ornette Coleman,
Anakelly,
Livin' Joy,
Mission of Burma,
Jacques Brel,
Pierre Henry,
Deepchord,
Man Parrish,
Dark Day,
Maurizio,
Main Source,
Drexciya,
John Cale,
X-101,
Eddi Front,
Little Man,
Dead Boys,
John Foxx,
The Gladiators,
Amon Düül,
the Fania All-Stars,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Mantronix,
Ash Ra Tempel,
Scott Walker + Sunn O))),
The Vogues,
The American Breed,
Popol Vuh,
Lalann,
Sight & Sound,
Pantytec,
John Lydon,
Morten Harket,
Gabor Szabo,
Smog,
China Crisis,
The Smoke,
Bang on a Can All-Stars,
Niagra,
Parry Music,
Wire,
F. McDonald,
Oblivians,
Second Layer,
Manfred Mann's Earth Band, Manfred Mann's Earth Band, Manfred Mann's Earth Band, Manfred Mann's Earth Band.
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.