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 Hungary and from Glasgow.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Manchester and New York.
I'm losing my edge to the art-school Cairo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro 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 Bootsy Collins to the electroclash kids.
I played it at Trash.
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 Arab on Radar. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Cybotron,
Angry Samoans,
Larry & the Blue Notes,
The Stooges,
Icehouse,
Bauhaus,
Henry Cow,
Tommy Roe,
Kango’s Stein Massive,
CMW,
Pharoah Sanders,
The Royal Family And The Poor,
Lower 48,
Flamin' Groovies,
Reagan Youth,
The Cure,
Maleditus Sound,
Roy Ayers,
Oblivians,
Average White Band,
The J.B.'s,
Jerry Gold Smith,
Magma,
Tubeway Army,
Soul Sonic Force,
Roy Ayers Ubiquity,
Jeru the Damaja,
Hashim,
Janne Schatter,
E-Dancer,
Gian Franco Pienzio,
The Happenings,
Cheater Slicks,
Gil Scott-Heron & Brian Jackson,
Subhumans,
Liliput,
The Mummies,
James White and The Blacks,
The Fortunes,
Severed Heads,
La Düsseldorf,
Massinfluence,
Second Layer,
Robert Görl,
Ten City,
Funky Four + One,
Major Organ And The Adding Machine,
Black Bananas,
Byron Stingily,
Sandy B,
Anakelly,
Gabor Szabo,
Yusef Lateef,
DeepChord presents Echospace,
Sonny Sharrock,
Minnie Riperton,
Blancmange,
Neu!,
Bluetip, Bluetip, Bluetip, Bluetip.
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.