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 Ukraine and from Johannesburg.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Tehran.
I'm losing my edge to the art-school Philadelphia 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Amon Düül to the funk kids.
I played it at the Astoria.
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 Carl Craig. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Lebanon Hanover 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your theremin and bought an organ.
I hear that you and your band have sold your organ and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gong,
The American Breed,
The Dead C,
The Dave Clark Five,
8 Eyed Spy,
The Human League,
Black Sheep,
Franke,
the Sonics,
John Holt,
Accadde A,
The Index,
Cal Tjader,
Crispian St. Peters,
Strawberry Alarm Clock,
Blossom Toes,
Japan,
F. McDonald,
Eli Mardock,
Essential Logic,
Schoolly D,
The Chocolate Watch Band,
The Fugs,
Tubeway Army,
Hardrive,
Siouxsie and the Banshees,
Mission of Burma,
Faraquet,
Crime,
Alice Coltrane,
Nick Fraelich,
Massinfluence,
Radiopuhelimet,
Rowland S Howard / Lydia Lunch,
Rufus Thomas,
Quando Quango,
Vladislav Delay,
Bobby Hutcherson,
Chrome,
Quantec,
The Standells,
Hashim,
Lou Reed,
Radiohead,
Rhythm & Sound,
Fluxion,
Lungfish,
Marc Almond,
Pulsallama,
the Slits,
Gian Franco Pienzio,
Curtis Mayfield,
Albert Ayler,
Röyhkä ja Rättö ja Lehtisalo,
Dual Sessions,
Desert Stars,
Joe Smooth,
D'Angelo,
Monolake,
Scratch Acid,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.