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 Belgium and from Shanghai.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Toronto.
I'm losing my edge to the art-school Seoul 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 arpeggiator 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 Bang on a Can All-Stars to the dance 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 Country Joe & The Fish. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Blackbyrds record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
The Count Five,
Byron Stingily,
Deakin,
Bobby Byrd,
Pantytec,
Red Lorry Yellow Lorry,
Todd Terry,
The Peanut Butter Conspiracy,
Avey Tare & Kría Brekkan,
London Community Gospel Choir,
Grandmaster Flash,
Tommy Roe,
A Flock of Seagulls,
Sun City Girls,
Echo & the Bunnymen,
The Blues Magoos,
The Chocolate Watch Band,
Kerri Chandler,
Lonnie Liston Smith,
Eyeless In Gaza,
Youth Brigade,
Mr. Review,
Visionaries,LMNO, T- Love & Iriscience,
Sixth Finger,
Siouxsie and the Banshees,
Parry Music,
China Crisis,
Graham Central Station,
The Seeds,
Jeff Mills,
Cybotron,
John Lydon,
The Residents,
Peter and Kerry,
Stiv Bators,
Harry Pussy,
Aloha Tigers,
John Foxx,
The Zeros,
Dead Boys,
Nils Olav,
Laurel Aitken,
Lalann,
Rhythm & Sound,
Warsaw,
Archie Shepp,
Oppenheimer Analysis,
The Flesh Eaters,
Lucky Dragons,
Bronski Beat,
The Walker Brothers,
The Black Dice,
Lizzy Mercier Descloux,
Dual Sessions,
Moby Grape,
Half Japanese,
Eric Dolphy,
Q and Not U,
Unrelated Segments,
The Invisible, The Invisible, The Invisible, The Invisible.
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.