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 Turkmenistan 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 1973.
I'm losing my edge.
To all the kids in Toronto and Milan.
I'm losing my edge to the art-school Accra 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 Neu! to the jazz kids.
I played it at the Crocodile.
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 The New Christs. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every Kerri Chandler 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Mr. Review,
Rowland S Howard / Lydia Lunch,
Isaac Hayes,
Eve St. Jones,
Ice-T,
Lebanon Hanover,
Ornette Coleman,
Lou Reed & Metallica,
Ohio Players,
Matthew Bourne,
Sunsets and Hearts,
Lindisfarne,
The Dead C,
Young Marble Giants,
Bootsy's Rubber Band,
The Cure,
The Index,
Shoche,
Donald Byrd,
The Toasters,
Wings,
Eddi Front,
Groovy Waters,
Gastr Del Sol,
Erasure,
Smog,
Curtis Mayfield,
The Vogues,
Dawn Penn,
Funkadelic,
Porter Ricks,
Wally Richardson,
Gil Scott-Heron & Brian Jackson,
Eyeless In Gaza,
The Chocolate Watch Band,
Saccharine Trust,
Lafayette Afro Rock Band,
The Tremeloes,
Kerri Chandler,
Newcleus,
Anthony Braxton,
Dead Boys,
Nirvana,
Don Cherry,
X-101,
Anakelly,
The J.B.'s,
Mad Mike,
Kaleidoscope,
Aural Exciters,
Stereo Dub,
Ultimate Spinach,
Silicon Teens,
Scratch Acid,
Steve Hackett,
Average White Band,
Kas Product,
Juan Atkins,
Soft Machine,
Stockholm Monsters,
Radio Birdman,
Lee Hazlewood,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.