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 Indonesia and from Tokyo.
But I was there.
I was there in .
I was there at the first Suicide 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 1963 to 1972.
I'm losing my edge.
To all the kids in New York and Glasgow.
I'm losing my edge to the art-school Toronto 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 spring reverb 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 Busters to the rock 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 Average White Band. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every Piero Umiliani record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
Radiopuhelimet,
Hasil Adkins,
Black Sheep,
Eli Mardock,
Soulsonic Force,
Matthew Halsall,
Davy DMX,
John Coltrane,
The Associates,
Eric Dolphy,
Tears for Fears,
Toni Rubio,
Matthew Bourne,
Minutemen,
Tom Boy,
Camron Feat. Memphis Bleek And Beenie Seigel,
Heavy D & The Boyz,
Darondo,
Jerry's Kids,
Oblivians,
Josef K,
Byron Stingily,
Jimmy McGriff,
Rekid,
48th St. Collective,
Lakeside,
Soft Cell,
Interpol,
Half Japanese,
Grandmaster Flash and the Furious Five,
cv313,
The Barracudas,
Kevin Saunderson,
Duran Duran,
The Smiths,
Pagans,
Rod Modell,
De La Soul & Jungle Brothers,
Black Bananas,
Siouxsie and the Banshees,
the Sonics,
Maurizio,
Brand Nubian,
Juan Atkins,
Gregory Isaacs,
Theoretical Girls,
Zapp,
Inner City,
Khruangbin,
OOIOO,
Beasts of Bourbon,
Pierre Henry,
Althea and Donna,
Marcia Griffiths,
The Moody Blues,
The Alarm Clocks,
the Normal,
The Buckinghams,
Jawbox,
Cameo,
Vainqueur,
The Modern Lovers,
Reuben Wilson,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.