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 Russia and from Spokane.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Halifax and Mexico City.
I'm losing my edge to the art-school Madrid 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the snare 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 Rowland S Howard / Lydia Lunch 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 Man Parrish. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every Derrick May record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
Stiv Bators,
Flash Fearless,
JFA,
James White and The Blacks,
Scratch Acid,
Camouflage,
Skriet,
Pantaleimon,
Roger Hodgson,
Rahsaan Roland Kirk,
Bootsy's Rubber Band,
The Moody Blues,
Ice-T,
Talk Talk,
Ponytail,
Marine Girls,
Al Stewart,
Zapp,
Fela Kuti,
Icehouse,
Brick,
Stockholm Monsters,
Magazine,
The Pop Group,
A Certain Ratio,
Schoolly D,
Oneida,
The Move,
Drexciya,
The Modern Lovers,
The Mighty Diamonds,
The Star Department,
The Selecter,
Bill Near,
PIL,
Wasted Youth,
Monolake,
The Velvet Underground,
Wally Richardson,
Man Eating Sloth,
Royal Trux,
Anthony Braxton,
The Alarm Clocks,
Quantec,
Art Ensemble Of Chicago,
Electric Prunes,
Motorama,
Tubeway Army,
Ultramagnetic MC's,
Avey Tare,
Red Lorry Yellow Lorry,
The Sonics,
The American Breed,
Peter Gordon & Love of Life Orchestra,
Archie Shepp,
Bobby Hutcherson,
Neil Young,
Dorothy Ashby,
DJ Style,
Jerry Gold Smith,
Brand Nubian,
The Remains, The Remains, The Remains, The Remains.
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.