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 Tuvalu and from Hong Kong.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Taipei.
I'm losing my edge to the art-school Hong Kong 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 chamberlin 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 Aloha Tigers to the techno kids.
I played it at the Troubador.
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 Con Funk Shun. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Moody Blues record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
New Age Steppers,
Todd Terry,
Nick Fraelich,
A Flock of Seagulls,
The Litter,
Kango’s Stein Massive,
Pole,
Rhythm & Sound,
Dorothy Ashby,
The Residents,
Michelle Simonal,
Lebanon Hanover,
Agent Orange,
The Tremeloes,
Crash Course in Science,
The Barracudas,
Susan Cadogan,
Dead Boys,
Newcleus,
Magazine,
The Raincoats,
The Leaves,
Section 25,
Prince Buster,
Judy Mowatt,
Man Parrish,
Gang Gang Dance,
Second Layer,
Wighnomy Brothers & Robag Wruhme,
The Standells,
Sonny Sharrock,
Urselle,
James Chance & The Contortions,
Stiv Bators,
The Angels of Light,
It's A Beautiful Day,
Easy Going,
Thinking Fellers Union Local 282,
Moby Grape,
8 Eyed Spy,
Justin Hinds & The Dominoes,
Brand Nubian,
Throbbing Gristle,
Panda Bear,
Henry Cow,
Rotary Connection,
Soft Cell,
Adolescents,
Sällskapet,
Make Up,
Graham Central Station,
The Monochrome Set,
Lucky Dragons,
Blancmange,
Dark Day,
Motorama,
The American Breed,
Johnny Osbourne,
Jimmy McGriff,
Peter and Kerry,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.