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 Ukraine and from Bologna.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Taipei and Calgary.
I'm losing my edge to the art-school Paris 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Bar-Kays to the grunge kids.
I played it at the Hacienda.
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 Spandau Ballet. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every Lizzy Mercier Descloux record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Can,
Bobby Womack,
June Days,
Joey Negro,
Jandek,
The Toasters,
Alton Ellis,
The Vogues,
Schoolly D,
Bob Dylan,
Avey Tare,
Flamin' Groovies,
Frankie Knuckles,
DeepChord presents Echospace,
Little Man,
Urselle,
The Mojo Men,
Ponytail,
Peter and Kerry,
Lalann,
Dark Day,
Slick Rick,
Gabor Szabo,
Simply Red,
Wally Richardson,
Half Japanese,
Todd Rundgren,
Basic Channel,
Funkadelic,
Byron Stingily,
Joyce Sims,
The Misunderstood,
Blossom Toes,
Yusef Lateef,
Tears for Fears,
Carl Craig,
Bootsy Collins,
Mission of Burma,
Mandrill,
Donald Byrd,
Mr. Review,
The Wake,
Roy Ayers,
Index,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Walker Brothers,
London Community Gospel Choir,
Banda Bassotti,
Junior Murvin,
Bootsy's Rubber Band,
Fad Gadget,
Lou Reed & Metallica,
Stereo Dub,
Pussy Galore,
Jeru the Damaja,
John Coltrane,
Country Teasers,
Barclay James Harvest,
Sight & Sound,
Terrestrial Tones,
Model 500,
Fat Boys,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.