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 Netherlands and from Taipei.
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 1972.
I'm losing my edge.
To all the kids in Hong Kong and Spokane.
I'm losing my edge to the art-school Toronto 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 John Coltrane to the electroclash 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 48th St. Collective. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's 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?
Gabor Szabo,
Rufus Thomas,
Livin' Joy,
Matthew Bourne,
Pierre Henry,
Peter and Kerry,
The Saints,
Circle Jerks,
Ultimate Spinach,
Television,
Flamin' Groovies,
Public Enemy,
James White and The Blacks,
Flipper,
Girls At Our Best!,
Kerrie Biddell,
Bobby Hutcherson,
Scan 7,
Wire,
Moss Icon,
Deadbeat,
Liliput,
The Dirtbombs,
The Cowsills,
Beasts of Bourbon,
Technova,
Black Bananas,
The West Coast Pop Art Experimental Band,
Eddi Front,
Nick Fraelich,
Tubeway Army,
Alice Coltrane,
Motorama,
Kas Product,
Loose Ends,
The Mighty Diamonds,
Suicide,
Albert Ayler,
B.T. Express,
The Electric Prunes,
Kango’s Stein Massive,
Heavy D & The Boyz,
Shoche,
Hardrive,
Bluetip,
Popol Vuh,
Boz Scaggs,
Swans,
kango's stein massive,
Nils Olav,
Barbara Tucker,
10cc,
DeepChord presents Echospace,
Major Organ And The Adding Machine,
Archie Shepp,
Shuggie Otis,
Public Image Ltd.,
Make Up, Make Up, Make Up, Make Up.
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.