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 Zambia and from Lille.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Spokane and Johannesburg.
I'm losing my edge to the art-school Shanghai 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Ash Ra Tempel to the jazz kids.
I played it at Cafe Wha.
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 Rosa Yemen. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every The Flesh Eaters 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 '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
The United States of America,
Darondo,
Louis and Bebe Barron,
Jimmy McGriff,
the Association,
Bronski Beat,
Cheater Slicks,
Oppenheimer Analysis,
Pierre Henry,
Toni Rubio,
Cymande,
Barry Ungar,
Youth Brigade,
David Axelrod,
Country Teasers,
Ajijia Myrayebe,
Spandau Ballet,
Donald Byrd,
Supertramp,
Simply Red,
David McCallum,
Duran Duran,
The Royal Family And The Poor,
Dawn Penn,
Soul II Soul,
The Chocolate Watch Band,
The Cure,
Selector Dub Narcotic,
Albert Ayler,
Fugazi,
R.M.O.,
Be Bop Deluxe,
Gil Scott-Heron and Jamie xx,
Kas Product,
The Human League,
Slave,
Harry Pussy,
Wighnomy Brothers & Robag Wruhme,
Model 500,
Blancmange,
Lizzy Mercier Descloux,
Soft Cell,
Carl Craig,
Man Parrish,
Angels of Light & Akron/Family,
Brick,
Q65,
Skaos,
Vaughan Mason & Crew,
Deutsch Amerikanische Freundschaft,
Gil Scott-Heron & Brian Jackson,
The Walker Brothers,
X-101,
Lower 48,
Mr. Review,
Blake Baxter,
Roxy Music,
Strawberry Alarm Clock,
Anthony Braxton,
Q and Not U,
Maleditus Sound,
Icehouse,
UT, UT, UT, UT.
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.