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 Grenada and from Milan.
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 1973.
I'm losing my edge.
To all the kids in Taipei and Seoul.
I'm losing my edge to the art-school Philadelphia 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen 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 The Buckinghams to the dance kids.
I played it at the Troubador.
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 Fire Engines. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every Barbara Tucker record on German import.
I heard that you have a white label of every seminal crunk 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 a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
The Monks,
E-Dancer,
Leonard Cohen,
The Mummies,
Eurythmics,
Robert Wyatt,
Saccharine Trust,
Morten Harket,
Rahsaan Roland Kirk,
Steve Hackett,
Bobbi Humphrey,
Bizarre Inc.,
Massinfluence,
Sugar Minott,
Henry Cow,
Reuben Wilson,
DeepChord presents Echospace,
the Association,
Black Pus,
The Blues Magoos,
FM Einheit,
the Sonics,
Dennis Brown,
Warren Ellis,
Royal Trux,
Groovy Waters,
Rapeman,
Cameo,
Newcleus,
Black Flag,
Pere Ubu,
Zero Boys,
Sonny Sharrock,
Jerry's Kids,
Minny Pops,
Brothers Johnson,
Grandmaster Flash and the Furious Five,
48th St. Collective,
Peter Gordon & Love of Life Orchestra,
The Barracudas,
Althea and Donna,
Jawbox,
Mary Jane Girls,
Vaughan Mason & Crew,
The Slits,
Junior Murvin,
Lizzy Mercier Descloux,
Fela Kuti,
Buzzcocks,
Matthew Halsall,
Q65,
James Chance & The Contortions,
Sällskapet,
Fugazi,
Young Marble Giants,
Heavy D & The Boyz,
Mark Hollis,
Babytalk,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.