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 Nepal and from Houston.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Milan and Lille.
I'm losing my edge to the art-school Winnipeg 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 organ sounds with much patience.
I was there when Holger Czukay 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 Tim Buckley to the disco 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 Matthew Halsall. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Neil Young & Crazy Horse record on German import.
I heard that you have a white label of every seminal electroclash 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 a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Visionaries,LMNO, T- Love & Iriscience record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kauko Röyhkä ja Narttu,
The Gun Club,
Aaron Thompson,
The New Christs,
World's Most,
Avey Tare,
Lizzy Mercier Descloux,
Röyhkä ja Rättö ja Lehtisalo,
The Red Krayola,
Warsaw,
Bootsy Collins,
Angry Samoans,
Bush Tetras,
Kurtis Blow,
Sex Pistols,
Black Moon,
The Sonics,
Bang On A Can,
Sunsets and Hearts,
Amazonics,
Warren Ellis,
The Last Poets,
Eric B and Rakim,
Joensuu 1685,
Inner City,
Model 500,
A Certain Ratio,
Cheater Slicks,
Sparks,
cv313,
Qualms,
Ohio Players,
Aural Exciters,
Stockholm Monsters,
Ralphi Rosario,
Mars,
Underground Resistance,
The West Coast Pop Art Experimental Band,
Lakeside,
The American Breed,
AZ,
Barry Ungar,
Tres Demented,
Scratch Acid,
Rhythm & Sound,
John Holt,
Mandrill,
Dennis Brown,
Manfred Mann's Earth Band,
Blossom Toes,
Bauhaus,
Charles Mingus,
Pantaleimon,
The Litter,
Minutemen,
Silicon Teens,
Bizarre Inc.,
The Martian,
Lebanon Hanover,
Moss Icon,
Donny Hathaway,
Gang of Four,
Crispy Ambulance,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.