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 Equatorial Guinea and from Delhi.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Calgary and Copenhagen.
I'm losing my edge to the art-school Manchester 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 theremin 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 Jesper Dahlbäck to the punk kids.
I played it at Cafe Wha.
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 Tim Buckley. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Pantytec record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
Byron Stingily,
Soft Cell,
Traffic Nightmare,
X-102,
Dorothy Ashby,
The Mighty Diamonds,
Scratch Acid,
Masters at Work,
The Smoke,
Nik Kershaw,
Juan Atkins,
Shuggie Otis,
Motorama,
Nirvana,
Silicon Teens,
Ponytail,
The Happenings,
Whodini,
Babytalk,
Angels of Light & Akron/Family,
Throbbing Gristle,
The Flesh Eaters,
Junior Murvin,
Black Moon,
L. Decosne,
Black Flag,
Sparks,
Sight & Sound,
Rites of Spring,
Lou Christie,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Matthew Halsall,
K-Klass,
The Black Dice,
Dual Sessions,
The Divine Comedy,
Neil Young & Crazy Horse,
Swans,
John Cale,
Quantec,
the Slits,
These Immortal Souls,
Wolf Eyes,
Panda Bear,
Icehouse,
Wally Richardson,
Big Daddy Kane,
Sam Rivers,
Surgeon,
Half Japanese,
Man Eating Sloth,
the Soft Cell,
Unwound,
Can,
Radiohead,
Thee Headcoats,
Harmonia,
David McCallum,
Harpers Bizarre,
The Slits, The Slits, The Slits, The Slits.
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.