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 Papua New Guinea and from Portland.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Calgary and Seoul.
I'm losing my edge to the art-school Jakarta 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 spring reverb 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 China Crisis to the grunge kids.
I played it at CBGB's.
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 Kerri Chandler. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every Yaz record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Sound 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?
Flamin' Groovies,
Dawn Penn,
Average White Band,
Gil Scott-Heron and Jamie xx,
John Coltrane,
Parry Music,
Fat Boys,
Lonnie Liston Smith,
Bob Dylan,
Major Organ And The Adding Machine,
Davy DMX,
Angry Samoans,
Sex Pistols,
The Motions,
Sonny Sharrock,
Todd Rundgren,
Erykah Badu,
Beasts of Bourbon,
Sandy B,
Rod Modell,
Pylon,
Bobby Byrd,
Electric Light Orchestra,
The Mojo Men,
The Last Poets,
Dead Boys,
Livin' Joy,
Roger Hodgson,
Nico,
Matthew Bourne,
Visage,
Lucky Dragons,
Pulsallama,
Colin Newman,
Subhumans,
Alison Limerick,
Henry Cow,
Lee Hazlewood,
Kaleidoscope,
Zapp,
The Kinks,
Infiniti,
Skaos,
Procol Harum,
Harpers Bizarre,
Ornette Coleman,
Interpol,
The Modern Lovers,
The Black Dice,
Sly & The Family Stone,
Man Eating Sloth,
Sun Ra,
Gregory Isaacs,
The Associates,
Nation of Ulysses,
Notorious Big And Bone Thugs,
Cameo,
Reagan Youth,
Juan Atkins,
Minnie Riperton,
Scan 7,
The Residents,
James White and The Blacks,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.