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 Comoros and from London.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1960 to 1976.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
I'm losing my edge to the art-school Edmonton 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 snare sounds with much patience.
I was there when Holger Czukay 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 Al Stewart to the electroclash 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 Mark Hollis. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Scott Walker + Sunn O))) record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Crispy Ambulance record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
John Coltrane,
The Dave Clark Five,
Ajijia Myrayebe,
Laurel Aitken,
X-102,
The Five Americans,
The Fortunes,
Peter and Kerry,
Kurtis Blow,
Sly & The Family Stone,
The Evens,
D'Angelo,
DJ Sneak,
Lonnie Liston Smith,
Matthew Bourne,
Susan Cadogan,
R.M.O.,
Sunsets and Hearts,
Hasil Adkins,
Gil Scott-Heron & Brian Jackson,
Pussy Galore,
Davy DMX,
Monolake,
Judy Mowatt,
Kango’s Stein Massive,
Organ,
Soft Machine,
London Community Gospel Choir,
Pantytec,
Be Bop Deluxe,
Barbara Tucker,
The Selecter,
Lungfish,
The Raincoats,
Pulsallama,
Kerri Chandler,
Johnny Clarke,
The Searchers,
Red Lorry Yellow Lorry,
the Fania All-Stars,
Crooked Eye,
A Flock of Seagulls,
B.T. Express,
Underground Resistance,
Albert Ayler,
Fad Gadget,
Derrick May,
Oblivians,
LL Cool J,
Unrelated Segments,
Janne Schatter,
Desert Stars,
Lightning Bolt,
The Gories,
Scion,
Simply Red,
The Litter,
John Holt,
New Order, New Order, New Order, New Order.
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.