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 Slovenia and from Bologna.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1975.
I'm losing my edge.
To all the kids in Portland and Seoul.
I'm losing my edge to the art-school Hong Kong 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron 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 Half Japanese to the dance kids.
I played it at the 40 Watt.
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 Reuben Wilson. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Harpers Bizarre 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Lucky Dragons,
A Flock of Seagulls,
Buzzcocks,
Mission of Burma,
Selector Dub Narcotic,
Clear Light,
The Fortunes,
Anthony Braxton,
Terrestrial Tones,
Radiopuhelimet,
The Black Dice,
Camberwell Now,
The Vogues,
Johnny Clarke,
The New Christs,
Liliput,
The Divine Comedy,
Derrick Morgan,
Grey Daturas,
Radio Birdman,
Skarface,
the Human League,
Cecil Taylor,
World's Most,
Banda Bassotti,
Glambeats Corp.,
Vaughan Mason & Crew,
The Cramps,
Ponytail,
Bizarre Inc.,
The American Breed,
David Axelrod,
Con Funk Shun,
The Flesh Eaters,
Soul Sonic Force,
Sun Ra Arkestra,
Matthew Halsall,
Terry Callier,
Tres Demented,
Scan 7,
Black Moon,
Half Japanese,
D'Angelo,
Animal Collective,
Newcleus,
Gil Scott-Heron & Brian Jackson,
Gichy Dan,
The Names,
Hashim,
Sunsets and Hearts,
Bronski Beat,
The Dirtbombs,
Davy DMX,
Camouflage,
Junior Murvin,
The Selecter,
Nico,
Electric Light Orchestra,
Hasil Adkins,
Bad Manners,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.