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 Guatemala and from Madrid.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Jakarta.
I'm losing my edge to the art-school New York 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Eli Mardock to the funk kids.
I played it at Trash.
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 Lou Reed. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Barbara Tucker record on German import.
I heard that you have a white label of every seminal rap 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Jandek,
Judy Mowatt,
The Shadows of Knight,
Bootsy Collins,
Babytalk,
The Doors,
Scientists,
Dual Sessions,
Amon Düül II,
Minutemen,
PIL,
Bill Near,
Kings Of Tomorrow,
The Fortunes,
the Sonics,
Rowland S Howard / Lydia Lunch,
Mission of Burma,
The Mummies,
Grauzone,
Harpers Bizarre,
Pagans,
Alison Limerick,
Joyce Sims,
Barclay James Harvest,
Niagra,
Visionaries,LMNO, T- Love & Iriscience,
The Move,
Suburban Knight,
Ornette Coleman,
Saccharine Trust,
Silicon Teens,
The Durutti Column,
Davy DMX,
DJ Style,
Crooked Eye,
Subhumans,
Strawberry Alarm Clock,
Sarah Menescal,
The Music Machine,
The Detroit Cobras,
The Cowsills,
Henry Cow,
Pierre Henry,
Super Lover Cee & Casanova Rud,
Symarip,
H. Thieme,
the Human League,
David Axelrod,
Slave,
The Tremeloes,
Japan,
Spoonie Gee,
Kango’s Stein Massive,
Alice Coltrane,
Intrusion,
Howard Jones,
The Seeds,
The Standells,
Ponytail,
Jeru the Damaja,
New Age Steppers,
Arab on Radar,
Can,
Scrapy, Scrapy, Scrapy, Scrapy.
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.