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 East Timor and from Johannesburg.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1976.
I'm losing my edge.
To all the kids in Cairo and Cairo.
I'm losing my edge to the art-school London 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Charles Mingus to the disco kids.
I played it at the Crocodile.
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 CMW. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Fugazi record on German import.
I heard that you have a white label of every seminal rap 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 marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Eyeless In Gaza,
Tim Buckley,
Zero Boys,
Don Cherry,
Sad Lovers and Giants,
Y Pants,
Albert Ayler,
The Pretty Things,
Pagans,
Scientists,
Suicide,
Youth Brigade,
Ponytail,
Dorothy Ashby,
London Community Gospel Choir,
Letta Mbulu,
A Certain Ratio,
Vainqueur,
The Royal Family And The Poor,
Cecil Taylor,
Marshall Jefferson,
Stiv Bators,
Joyce Sims,
Index,
Fear,
The Peanut Butter Conspiracy,
Teenage Jesus and the Jerks,
The Durutti Column,
Deutsch Amerikanische Freundschaft,
Jandek,
Tears for Fears,
Glambeats Corp.,
Sister Nancy,
Vaughan Mason & Crew,
Mo-Dettes,
Grauzone,
The Cramps,
U.S. Maple,
Marcia Griffiths,
Mars,
The Men They Couldn't Hang,
Ralphi Rosario,
Gregory Isaacs,
Gil Scott-Heron & Brian Jackson,
The Knickerbockers,
the Slits,
Leonard Cohen,
Avey Tare,
the Sonics,
Monks,
Country Joe & The Fish,
Prince Buster,
Harry Pussy,
Grandmaster Flash and the Furious Five,
Strawberry Alarm Clock,
Negative Approach,
Young Marble Giants,
Mission of Burma,
Franke,
Robert Wyatt,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.