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 Samoa and from Calgary.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Houston and Winnipeg.
I'm losing my edge to the art-school Glasgow 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar 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 Brass Construction to the crunk kids.
I played it at Trash.
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 John Holt. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
Bang on a Can All-Stars,
Harpers Bizarre,
Pole,
The Sound,
The Move,
Rites of Spring,
Be Bop Deluxe,
Con Funk Shun,
Visionaries,LMNO, T- Love & Iriscience,
Lebanon Hanover,
Funky Four + One,
Nico,
It's A Beautiful Day,
Eli Mardock,
Stetsasonic,
Silicon Teens,
Althea and Donna,
The Music Machine,
The Sisters of Mercy,
the Normal,
The Velvet Underground,
Barclay James Harvest,
Depeche Mode,
The Residents,
Grauzone,
Ash Ra Tempel,
Deutsch Amerikanische Freundschaft,
The Wake,
Dorothy Ashby,
Lee Hazlewood,
Mad Mike,
The Tremeloes,
Black Sheep,
David McCallum,
The American Breed,
Cheater Slicks,
Sound Behaviour,
kango's stein massive,
Scratch Acid,
D'Angelo,
Stiv Bators,
Jerry's Kids,
Gary Puckett & The Union Gap,
Audionom,
Franke,
Roxy Music,
The Monochrome Set,
Urselle,
Neil Young & Crazy Horse,
June of 44,
The Smiths,
Supertramp,
Cecil Taylor,
Barrington Levy,
48th St. Collective,
The Slackers,
Juan Atkins,
Eddi Front,
Stockholm Monsters,
The Grass Roots,
The Gories,
Shuggie Otis,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.