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 Cuba and from Spokane.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Bologna.
I'm losing my edge to the art-school Johannesburg 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Moebius to the jazz kids.
I played it at CBGB's.
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 Drexciya. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every Quadrant 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
The Walker Brothers,
Lou Reed & John Cale,
Roger Hodgson,
Bauhaus,
Surgeon,
Orchestral Manoeuvres in the Dark,
Joe Finger,
Jacques Brel,
Bill Wells,
Tim Buckley,
Grey Daturas,
Bill Near,
John Holt,
New York Dolls,
The Peanut Butter Conspiracy,
Michelle Simonal,
Sonic Youth,
Harpers Bizarre,
Terrestrial Tones,
Brand Nubian,
Morten Harket,
Dave Gahan,
The Jesus and Mary Chain,
Lou Reed,
Agitation Free,
Dead Boys,
Moby Grape,
The Zeros,
Ultramagnetic MC's,
Barclay James Harvest,
David Axelrod,
Bobby Hutcherson,
Gerry Rafferty,
Bush Tetras,
D'Angelo,
Mandrill,
New Order,
Joey Negro,
The Star Department,
Gichy Dan,
The Evens,
Sarah Menescal,
Hardrive,
Fugazi,
Bang on a Can All-Stars,
Minny Pops,
Siouxsie and the Banshees,
Fela Kuti,
June of 44,
The Slits,
Man Parrish,
Lalo Schifrin,
Spoonie Gee,
Sexual Harrassment,
Roy Ayers,
Red Lorry Yellow Lorry,
JFA,
Urselle,
Todd Terry,
Erykah Badu,
Peter Gordon & Love of Life Orchestra,
Freddie Wadling,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.