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 Turkey and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1968 to 1972.
I'm losing my edge.
To all the kids in New York and Edmonton.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the sitar 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 Jerry Gold Smith to the punk kids.
I played it at Trash.
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 Girls At Our Best!. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Connie Case 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Soft Cell,
James White and The Blacks,
Symarip,
Q65,
Mars,
Richard Hell and the Voidoids,
Donald Byrd,
Ajijia Myrayebe,
Connie Case,
Jesper Dahlback,
Ice-T,
Faraquet,
Cluster,
Cybotron,
Outsiders,
Aswad,
Gian Franco Pienzio,
The Remains,
Trumans Water,
Amon Düül,
The Neon Judgement,
PIL,
Sad Lovers and Giants,
The Associates,
Terrestrial Tones,
E-Dancer,
Warsaw,
Magma,
Letta Mbulu,
Teenage Jesus and the Jerks,
Suburban Knight,
Japan,
Fear,
Stereo Dub,
These Immortal Souls,
Deepchord,
Lou Reed,
Pulsallama,
Jeru the Damaja,
Infiniti,
Grandmaster Flash and the Furious Five,
Sister Nancy,
The Happenings,
Wire,
Jacques Brel,
Delon & Dalcan,
Bobby Hutcherson,
The Evens,
Lungfish,
Lower 48,
Drive Like Jehu,
Basic Channel,
Kool Moe Dee,
Sarah Menescal,
The Birthday Party,
The Modern Lovers,
Lou Reed & John Cale,
Erykah Badu,
The Knickerbockers,
Bobbi Humphrey,
Spandau Ballet,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.