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 Burkina and from Winnipeg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Manila and Mexico City.
I'm losing my edge to the art-school Copenhagen 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 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 Alton Ellis to the jazz 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 Saccharine Trust. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Banda Bassotti record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
The Count Five,
Mark Hollis,
Parry Music,
Chrome,
The Dead C,
Blossom Toes,
Pete Rock & C.L. Smooth,
Black Sheep,
Dawn Penn,
Saccharine Trust,
Larry & the Blue Notes,
Al Stewart,
Thinking Fellers Union Local 282,
Scott Walker + Sunn O))),
Charles Mingus,
Lightning Bolt,
The Martian,
Pole,
The Blackbyrds,
John Holt,
Bronski Beat,
James Chance & The Contortions,
Roger Hodgson,
the Slits,
Camouflage,
Sarah Menescal,
Agent Orange,
The Offenders,
Gabor Szabo,
Faust,
The Blues Magoos,
Stiv Bators,
Prince Buster,
Gang Gang Dance,
The Skatalites,
Deutsch Amerikanische Freundschaft,
Unwound,
Todd Rundgren,
Schoolly D,
Eddi Front,
Flipper,
L. Decosne,
Tom Boy,
Gil Scott-Heron and Jamie xx,
Funkadelic,
cv313,
Bang On A Can,
Roxy Music,
The Litter,
Kevin Saunderson,
B.T. Express,
Yellowson,
The Beau Brummels,
Dark Day,
Half Japanese,
Black Bananas,
Derrick Morgan,
Marc Romboy vs. Booka Shade,
Pagans,
Be Bop Deluxe,
Radiohead, Radiohead, Radiohead, Radiohead.
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.