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 Brunei and from Hong Kong.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1979.
I'm losing my edge.
To all the kids in Bologna and Seoul.
I'm losing my edge to the art-school Bremen 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 Zapp practice in a loft in Hamilton.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer 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 Urselle to the electroclash kids.
I played it at the Spitz.
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 Association. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal rock 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 theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
8 Eyed Spy,
Swell Maps,
The West Coast Pop Art Experimental Band,
Masters at Work,
De La Soul & Jungle Brothers,
Hoover,
The Tremeloes,
Chris & Cosey,
Trumans Water,
Thee Headcoats,
Kango’s Stein Massive,
The Kinks,
Faust,
The Happenings,
The Sound,
Fad Gadget,
Parry Music,
Duran Duran,
The Raincoats,
Technova,
Soft Machine,
U.S. Maple,
Sugar Minott,
Ronan,
Toni Rubio,
Scott Walker + Sunn O))),
John Foxx,
Tomorrow,
Alice Coltrane,
Porter Ricks,
David McCallum,
Sonny Sharrock,
Average White Band,
Sällskapet,
Sun Ra,
Cheater Slicks,
This Heat,
The Litter,
Japan,
CMW,
Black Bananas,
MDC,
Spoonie Gee,
Severed Heads,
Pantaleimon,
Amazonics,
Scrapy,
New Order,
Pharaoh Sanders and the Fire Engines,
Vaughan Mason & Crew,
Max Romeo,
Ken Boothe,
Whodini,
Beasts of Bourbon,
The J.B.'s,
Von Mondo,
Sad Lovers and Giants,
Jesper Dahlback,
Angry Samoans,
the Slits,
Television,
Half Japanese,
Marmalade,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.