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 Guyana and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1977.
I'm losing my edge.
To all the kids in Halifax and Spokane.
I'm losing my edge to the art-school Lyon 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 1979 at the first Josef K practice in a loft in Edinburgh.
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 Minnie Riperton to the grunge kids.
I played it at Cafe Wha.
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 FM Einheit. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every UT 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Popol Vuh,
Jeru the Damaja,
Brothers Johnson,
Urselle,
Schoolly D,
Bizarre Inc.,
Donald Byrd,
Royal Trux,
Crispy Ambulance,
Gang Green,
R.M.O.,
Art Ensemble Of Chicago,
F. McDonald,
Section 25,
The Raincoats,
Mars,
Pharoah Sanders,
Sexual Harrassment,
Nils Olav,
Television,
Lonnie Liston Smith,
the Sonics,
Oppenheimer Analysis,
Bad Manners,
Kango’s Stein Massive,
E-Dancer,
Wire,
Letta Mbulu,
The Tremeloes,
The Smoke,
Moebius,
Amon Düül II,
The Flesh Eaters,
Dead Boys,
Kool G Rap & DJ Polo,
Stereo Dub,
The Busters,
Terrestrial Tones,
Sly & The Family Stone,
Zapp,
Siouxsie and the Banshees,
Aloha Tigers,
Grauzone,
Sun City Girls,
Johnny Clarke,
Sällskapet,
Lucky Dragons,
Sister Nancy,
Interpol,
the Swans,
Avey Tare,
Visage,
Kurtis Blow,
Amon Düül,
The Gap Band,
Terry Callier,
Derrick May,
Maleditus Sound,
Ponytail,
Ultramagnetic MC's,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.