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 Czech Republic and from Lyon.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1961 to 1973.
I'm losing my edge.
To all the kids in Halifax and Glasgow.
I'm losing my edge to the art-school London 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Tomorrow to the rock kids.
I played it at the Troubador.
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 Echo & the Bunnymen. All the underground hits.
All Scion tracks. I heard you have a vinyl of every Arab on Radar 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 '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Residents,
Malaria!,
Dark Day,
Eden Ahbez,
Arab on Radar,
Unwound,
Cecil Taylor,
Mad Mike,
48th St. Collective,
Chris & Cosey,
Don Cherry,
Arthur Verocai,
Accadde A,
Mantronix,
Jacques Brel,
The Happenings,
Pete Rock & C.L. Smooth,
Quando Quango,
Hoover,
DeepChord presents Echospace,
Barry Ungar,
Niagra,
the Fania All-Stars,
Byron Stingily,
Can,
Alison Limerick,
Gichy Dan,
Rotary Connection,
The Gories,
Ultravox,
Theoretical Girls,
E-Dancer,
The Shadows of Knight,
Lalo Schifrin,
Funky Four + One,
Lafayette Afro Rock Band,
The Detroit Cobras,
Bluetip,
Thompson Twins,
L. Decosne,
The J.B.'s,
The Alarm Clocks,
The Litter,
Bauhaus,
Crime,
Rahsaan Roland Kirk,
The Five Americans,
Stiv Bators,
Moebius,
Animal Collective,
Neu!,
Hot Snakes,
The Chocolate Watch Band,
Stereo Dub,
Joy Division,
Swell Maps,
T. Rex,
The Martian,
Lou Reed & John Cale,
Warsaw,
Liaisons Dangereuses,
Rakim,
Joey Negro,
Organ, Organ, Organ, Organ.
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.