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 Korea South and from Woodstock.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Columbus.
I'm losing my edge to the art-school Halifax 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 Brick to the techno 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 Cal Tjader. All the underground hits.
All David McCallum tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Fugazi,
The Smoke,
Trumans Water,
Danielle Patucci,
Ultimate Spinach,
The Dave Clark Five,
Buzzcocks,
JFA,
Crash Course in Science,
Tubeway Army,
Amon Düül II,
Kurtis Blow,
K-Klass,
Judy Mowatt,
The Names,
Moebius,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kings Of Tomorrow,
Agent Orange,
R.M.O.,
Vladislav Delay,
Aaron Thompson,
Erasure,
Kango’s Stein Massive,
FM Einheit,
The Grass Roots,
Scratch Acid,
Supertramp,
Faust,
Swell Maps,
The Shadows of Knight,
The Velvet Underground,
Spoonie Gee,
Electric Light Orchestra,
The Associates,
Funkadelic,
The Sisters of Mercy,
Scan 7,
Cheater Slicks,
Ajijia Myrayebe,
Pylon,
Amazonics,
DJ Style,
Country Teasers,
Pole,
Sun City Girls,
Ituana,
Orchestral Manoeuvres in the Dark,
The Angels of Light,
The Invisible,
The Motions,
Johnny Osbourne,
Magma,
Wings,
Glambeats Corp.,
John Cale,
The Birthday Party,
Malaria!, Malaria!, Malaria!, Malaria!.
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.