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 Saudi Arabia and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 Woodstock and Bremen.
I'm losing my edge to the art-school Hong Kong 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 chamberlin sounds with much patience.
I was there when David Bowie 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 H. Thieme to the rock 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 The Victims. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Cecil Taylor 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 an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rahsaan Roland Kirk record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
A Flock of Seagulls,
World's Most,
The Sonics,
Cabaret Voltaire,
Man Parrish,
Ornette Coleman,
Matthew Halsall,
The Cure,
Throbbing Gristle,
David Bowie,
London Community Gospel Choir,
Avey Tare & Kría Brekkan,
Avey Tare,
Porter Ricks,
Minor Threat,
Hasil Adkins,
AZ,
Cecil Taylor,
Don Cherry,
Prince Buster,
Suicide,
Tom Boy,
Popol Vuh,
Rowland S Howard / Lydia Lunch,
Lyres,
The Stooges,
Parry Music,
The Divine Comedy,
Main Source,
cv313,
Johnny Clarke,
Laurel Aitken,
Jesper Dahlback,
Richard Hell and the Voidoids,
Aswad,
Visage,
The Leaves,
Louis and Bebe Barron,
Loose Ends,
Blancmange,
Art Ensemble Of Chicago,
Fort Wilson Riot,
Alphaville,
The Names,
Avey Tare's Slasher Flicks,
Andrew Ashong & Theo Parrish,
Massinfluence,
Brass Construction,
The Litter,
Gong,
Josef K,
Judy Mowatt,
Rosa Yemen,
Godley & Creme,
Scientists,
The Beau Brummels,
Index,
Ronan,
The Kinks,
Urselle,
Sun Ra,
Sly & The Family Stone,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.