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 Seychelles and from New York.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Lille and Lille.
I'm losing my edge to the art-school Mumbai 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 marimba 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 Pet Shop Boys to the grunge kids.
I played it at the Spitz.
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 Bootsy's Rubber Band. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Cymande 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 '60s cut and another box set from the '70s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Delon & Dalcan 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?
CMW,
Big Daddy Kane,
Mad Mike,
Oneida,
Scott Walker + Sunn O))),
Ultra Naté,
Gabor Szabo,
Sly & The Family Stone,
Minutemen,
James Chance & The Contortions,
Supertramp,
Black Bananas,
Pantytec,
Robert Hood,
Soul II Soul,
Neu!,
The United States of America,
The Cowsills,
Mark Hollis,
a-ha,
Bang on a Can All-Stars,
Judy Mowatt,
Man Eating Sloth,
Nick Fraelich,
John Coltrane,
Model 500,
the Slits,
Pussy Galore,
Stetsasonic,
Alton Ellis,
Altered Images,
The Misunderstood,
The Cosmic Jokers,
Be Bop Deluxe,
The Monks,
Barclay James Harvest,
Lalann,
AZ,
The Sisters of Mercy,
The Offenders,
Jacques Brel,
Red Lorry Yellow Lorry,
Radiopuhelimet,
Circle Jerks,
Ralphi Rosario,
Organ,
Trumans Water,
L. Decosne,
Todd Terry,
Jandek,
The Standells,
Davy DMX,
Shuggie Otis,
Theoretical Girls,
Mars,
Stiv Bators,
Cabaret Voltaire,
World's Most,
Matthew Bourne,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.