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 Albania and from Manchester.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1968 to 1979.
I'm losing my edge.
To all the kids in Beijing and Shanghai.
I'm losing my edge to the art-school New York 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe 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 the Normal to the funk 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 Nas. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Lonnie Liston Smith record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
Glenn Branca,
Graham Central Station,
The Fuzztones,
Cecil Taylor,
Slave,
Anakelly,
Con Funk Shun,
Lalo Schifrin,
Jacob Miller,
Josef K,
Roy Ayers Ubiquity,
Teenage Jesus and the Jerks,
Crooked Eye,
Gregory Isaacs,
Gang Starr,
K-Klass,
Electric Light Orchestra,
Traffic Nightmare,
John Holt,
Joe Smooth,
Patti Smith,
The Moody Blues,
Scott Walker,
Sun City Girls,
Black Pus,
Little Man,
Nils Olav,
The Offenders,
Ice-T,
Crispian St. Peters,
The Red Krayola,
The Index,
The Cure,
The Toasters,
The Men They Couldn't Hang,
Gang Green,
Rod Modell,
The New Christs,
Wighnomy Brothers & Robag Wruhme,
Gastr Del Sol,
Rufus Thomas,
Curtis Mayfield,
Country Joe & The Fish,
Minutemen,
Eden Ahbez,
Johnny Clarke,
Wings,
Magazine,
Lyres,
Basic Channel,
Dead Boys,
Aaron Thompson,
Masters at Work,
Hashim,
Danielle Patucci,
Scion,
Intrusion,
Robert Wyatt,
Sexual Harrassment,
Tubeway Army,
Mars, Mars, Mars, Mars.
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.