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 Bulgaria and from London.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Seoul and Toronto.
I'm losing my edge to the art-school Paris 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Lalann to the disco 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 Beasts of Bourbon. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every T. Rex 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 '70s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Black Pus record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Jacques Brel,
Bobby Womack,
Infiniti,
Gong,
Fifty Foot Hose,
Minnie Riperton,
JFA,
Idris Muhammad,
The Misunderstood,
Lakeside,
Lucky Dragons,
Royal Trux,
Inner City,
Ultra Naté,
The Divine Comedy,
The Blackbyrds,
Bizarre Inc.,
Bobby Byrd,
Sun Ra,
the Normal,
Red Lorry Yellow Lorry,
Be Bop Deluxe,
Jerry's Kids,
The Gun Club,
The Beau Brummels,
Siglo XX,
Thompson Twins,
The Stooges,
Rufus Thomas,
The Smoke,
Terry Callier,
Eve St. Jones,
Boogie Down Productions,
Todd Rundgren,
Monolake,
The Fire Engines,
John Cale,
Gabor Szabo,
The Residents,
Robert Hood,
Deakin,
Clear Light,
Audionom,
Alphaville,
Colin Newman,
Bootsy Collins,
a-ha,
John Holt,
The Shadows of Knight,
Camberwell Now,
Visage,
Pete Rock & C.L. Smooth,
The Star Department,
Fela Kuti,
The Gladiators,
Babytalk,
Harpers Bizarre,
The Seeds,
Peter and Kerry,
Moebius,
Ajijia Myrayebe,
Morten Harket,
The Mummies, The Mummies, The Mummies, The Mummies.
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.