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 Turkey and from Lyon.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Delhi and New York.
I'm losing my edge to the art-school Milan 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the arpeggiator 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 Girls At Our Best! to the funk kids.
I played it at Trash.
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 Mark Hollis. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Danielle Patucci 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agent Orange,
Sam Rivers,
Amon Düül,
Lizzy Mercier Descloux,
The Blackbyrds,
T.S.O.L.,
The Fortunes,
Dorothy Ashby,
The Mojo Men,
The Neon Judgement,
Slave,
John Cale,
Lalann,
Banda Bassotti,
The Barracudas,
AZ,
Wighnomy Brothers & Robag Wruhme,
K-Klass,
UT,
Lyres,
Avey Tare,
Lou Reed,
Echospace,
The Star Department,
Amon Düül II,
One Last Wish,
The Monks,
Kaleidoscope,
Scan 7,
Anakelly,
Harry Pussy,
Roxy Music,
Crispian St. Peters,
Gil Scott-Heron and Jamie xx,
The Vogues,
Peter and Kerry,
The Men They Couldn't Hang,
Alison Limerick,
Aural Exciters,
Moss Icon,
Severed Heads,
Leonard Cohen,
Absolute Body Control,
Roy Ayers Ubiquity,
Sex Pistols,
Quantec,
Liaisons Dangereuses,
Gregory Isaacs,
Roy Ayers,
Von Mondo,
Cabaret Voltaire,
Josef K,
H. Thieme,
Public Image Ltd.,
Porter Ricks,
Fifty Foot Hose,
The Buckinghams,
the Bar-Kays,
Sarah Menescal,
ABC,
Radio Birdman,
Michelle Simonal,
Dark Day,
DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace.
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.