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 Bangladesh and from Columbus.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Calgary.
I'm losing my edge to the art-school Calgary 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 theremin 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 Gil Scott Heron to the grime kids.
I played it at the Roxy.
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 Chris & Cosey. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every JFA record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls 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?
Glambeats Corp.,
The Trojans,
Colin Newman,
DJ Sneak,
Richard Hell and the Voidoids,
Moebius,
Von Mondo,
The Stooges,
Byron Stingily,
Mark Hollis,
The Slits,
Unrelated Segments,
Television,
Black Pus,
Japan,
Electric Light Orchestra,
Gil Scott-Heron & Brian Jackson,
Mr. Review,
New Age Steppers,
Cheater Slicks,
Heavy D & The Boyz,
Beasts of Bourbon,
The Knickerbockers,
Public Enemy,
ABBA,
Dorothy Ashby,
Althea and Donna,
Niagra,
Pagans,
Angels of Light & Akron/Family,
Faraquet,
Ludus,
the Soft Cell,
Moby Grape,
the Swans,
Malaria!,
Kurtis Blow,
Man Parrish,
A Certain Ratio,
Underground Resistance,
Lou Reed,
a-ha,
The Divine Comedy,
The Young Rascals,
Second Layer,
LL Cool J,
Rhythm & Sound,
Strawberry Alarm Clock,
Supertramp,
Flash Fearless,
Buzzcocks,
June Days,
Johnny Clarke,
Rites of Spring,
MC5,
London Community Gospel Choir,
Toni Rubio,
The Vogues,
the Bar-Kays,
Lou Christie,
Blake Baxter,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.