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 Tonga and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1977.
I'm losing my edge.
To all the kids in Woodstock and Lyon.
I'm losing my edge to the art-school Portland 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer 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 The Cramps to the punk kids.
I played it at the Hacienda.
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 Smog. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Second Layer 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 '70s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Bang on a Can All-Stars,
Minny Pops,
Röyhkä ja Rättö ja Lehtisalo,
Man Parrish,
Tubeway Army,
Con Funk Shun,
Fatback Band,
The Modern Lovers,
The Durutti Column,
Visage,
Black Moon,
Quadrant,
Bill Wells,
Sarah Menescal,
Public Enemy,
The Smiths,
D'Angelo,
Aural Exciters,
The Names,
Banda Bassotti,
48th St. Collective,
Loose Ends,
Scott Walker,
One Last Wish,
R.M.O.,
Electric Light Orchestra,
Dual Sessions,
Wasted Youth,
Scott Walker + Sunn O))),
Tim Buckley,
The Gun Club,
Country Teasers,
Yazoo,
Buzzcocks,
Gary Puckett & The Union Gap,
Pulsallama,
the Association,
Andrew Hill,
B.T. Express,
Jacques Brel,
Aswad,
Japan,
Girls At Our Best!,
The Tremeloes,
Sixth Finger,
The Move,
This Heat,
Yellowson,
Crispian St. Peters,
Bobby Byrd,
Eurythmics,
Electric Prunes,
DJ Style,
Jesper Dahlback,
T. Rex,
Tomorrow,
Crash Course in Science,
Eric Dolphy,
The Selecter,
10cc,
Kaleidoscope,
The Shadows of Knight,
Marine Girls,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.