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 Brunei and from Shanghai.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1972.
I'm losing my edge.
To all the kids in Cairo and Toronto.
I'm losing my edge to the art-school Shanghai 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 Second Layer practice in a loft in South London.
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 Alison Limerick to the electroclash kids.
I played it at the Troubador.
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 Wings. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Inner City,
The Fall,
Andrew Hill,
The Zeros,
Eurythmics,
Fugazi,
Surgeon,
Joyce Sims,
Kango’s Stein Massive,
Severed Heads,
Dennis Brown,
The Young Rascals,
The Standells,
Peter Gordon & Love of Life Orchestra,
Ludus,
Robert Hood,
Underground Resistance,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Victims,
Crime,
The Slits,
Jesper Dahlbäck,
48th St. Collective,
Sam Rivers,
The Invisible,
Sonic Youth,
Thee Headcoats,
Swell Maps,
Deadbeat,
Infiniti,
The Royal Family And The Poor,
Lindisfarne,
Marmalade,
Maurizio,
Electric Prunes,
John Lydon,
These Immortal Souls,
The Cosmic Jokers,
Schoolly D,
Young Marble Giants,
Electric Light Orchestra,
Moss Icon,
Mission of Burma,
Johnny Clarke,
Ultramagnetic MC's,
Bad Manners,
The Blackbyrds,
Sticky Fingaz feat. Raekwon,
Lou Christie,
The West Coast Pop Art Experimental Band,
The Neon Judgement,
James Chance & The Contortions,
Heaven 17,
Big Daddy Kane,
ABC,
The Moody Blues,
Television Personalities,
Swans,
Boz Scaggs,
Visage,
Motorama, Motorama, Motorama, Motorama.
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.