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 China and from Taipei.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Salvador and London.
I'm losing my edge to the art-school Mexico City 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Nick Cave & The Bad Seeds to the dance kids.
I played it at the Roxy.
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 Johnny Osbourne. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai 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?
Darondo,
Q65,
The Cowsills,
Strawberry Alarm Clock,
Kauko Röyhkä ja Narttu,
The Grass Roots,
Teenage Jesus and the Jerks,
DeepChord presents Echospace,
Nick Fraelich,
The Star Department,
Matthew Halsall,
EPMD,
In Retrospect,
Heavy D & The Boyz,
L. Decosne,
Mission of Burma,
Ice-T,
The Neon Judgement,
E-Dancer,
Albert Ayler,
the Human League,
Kango’s Stein Massive,
Colin Newman,
Laurel Aitken,
Magma,
Yaz,
Barbara Tucker,
Black Flag,
Spoonie Gee,
The Divine Comedy,
The Names,
The Angels of Light,
Bang on a Can All-Stars,
PIL,
Major Organ And The Adding Machine,
Rhythim Is Rhythim,
Nas,
John Coltrane,
Motorama,
The Toasters,
Art Ensemble Of Chicago,
Eric B and Rakim,
Cecil Taylor,
Bill Wells,
Warren Ellis,
Frankie Knuckles,
Visage,
Mandrill,
Man Parrish,
Zapp,
Radiohead,
Eli Mardock,
Amon Düül,
Jesper Dahlbäck,
Blake Baxter,
Electric Light Orchestra,
Agent Orange,
Fear,
Barry Ungar,
Bang On A Can,
The Sonics, The Sonics, The Sonics, The Sonics.
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.