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 Mauritius and from Accra.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Columbus and Stockholm.
I'm losing my edge to the art-school Woodstock 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 James Chance & The Contortions to the dance kids.
I played it at the Hacienda.
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 The Dave Clark Five. All the underground hits.
All Sun Ra tracks. I heard you have a vinyl of every Adolescents record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your oboe and bought a 808.
I hear that you and your band have sold your 808 and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dave Clark Five,
The Red Krayola,
The Techniques,
Lou Reed & Metallica,
The Gap Band,
Ice-T,
Nirvana,
Depeche Mode,
Lindisfarne,
Kurtis Blow,
Amon Düül II,
Gang of Four,
Underground Resistance,
Vladislav Delay,
The Gories,
The Associates,
Thee Headcoats,
The Trojans,
Junior Murvin,
The Beau Brummels,
Art Ensemble Of Chicago,
Mark Hollis,
Sun Ra Arkestra,
Joensuu 1685,
Ohio Players,
The Saints,
Adolescents,
Roy Ayers,
Half Japanese,
Gang Starr,
Brothers Johnson,
Spoonie Gee,
Altered Images,
Circle Jerks,
Loose Ends,
The Shadows of Knight,
Bobby Sherman,
Bang On A Can,
Gabor Szabo,
Nation of Ulysses,
Sound Behaviour,
Anakelly,
Major Organ And The Adding Machine,
Girls At Our Best!,
Donald Byrd,
Ludus,
Visage,
Sticky Fingaz feat. Raekwon,
Babytalk,
Skriet,
Thinking Fellers Union Local 282,
David Axelrod,
Röyhkä ja Rättö ja Lehtisalo,
Eurythmics,
Orchestral Manoeuvres in the Dark,
New York Dolls,
Negative Approach,
Terrestrial Tones,
L. Decosne,
Fat Boys,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.