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 Uruguay and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Manila.
I'm losing my edge to the art-school Bologna 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin 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 Silicon Teens to the funk kids.
I played it at the 40 Watt.
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 Michelle Simonal. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every The Chocolate Watch Band record on German import.
I heard that you have a white label of every seminal jazz 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 arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
The Doors,
The Zeros,
Rhythim Is Rhythim,
Throbbing Gristle,
Moebius,
Gil Scott-Heron & Brian Jackson,
K-Klass,
Skriet,
Joey Negro,
Audionom,
Moby Grape,
Index,
Animal Collective,
The Happenings,
Marmalade,
Pussy Galore,
Blossom Toes,
Jacques Brel,
Masters at Work,
Nik Kershaw,
JFA,
Glambeats Corp.,
Major Organ And The Adding Machine,
Yaz,
Spoonie Gee,
Ken Boothe,
Reuben Wilson,
Duran Duran,
Interpol,
Cheater Slicks,
Al Stewart,
Guru Guru,
Con Funk Shun,
The Selecter,
Captain Beefheart & His Magic Band,
Sound Behaviour,
In Retrospect,
Cybotron,
Derrick Morgan,
Derrick May,
Siglo XX,
Mars,
Minnie Riperton,
Orchestral Manoeuvres in the Dark,
Gichy Dan,
Iggy Pop,
Bad Manners,
The Blackbyrds,
Mandrill,
John Coltrane,
The Music Machine,
Angels of Light & Akron/Family,
Alice Coltrane,
PIL,
Echo & the Bunnymen,
Slave,
Hasil Adkins,
Donny Hathaway,
Dead Boys,
Lou Reed,
Jesper Dahlbäck,
The Vogues,
Saccharine Trust,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.