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 San Marino and from Glasgow.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Stockholm.
I'm losing my edge to the art-school Edmonton 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 John Holt to the rock kids.
I played it at CBGB's.
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 Pussy Galore. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Prince Buster 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Inner City,
Arcadia,
Outsiders,
kango's stein massive,
The Count Five,
Donald Byrd,
Teenage Jesus and the Jerks,
Loose Ends,
Archie Shepp,
Sugar Minott,
Gian Franco Pienzio,
Liliput,
Gabor Szabo,
The Buckinghams,
Angry Samoans,
Buzzcocks,
These Immortal Souls,
Erykah Badu,
Soul II Soul,
London Community Gospel Choir,
The Names,
Siouxsie and the Banshees,
Shoche,
World's Most,
Gil Scott-Heron and Jamie xx,
The Angels of Light,
The Moody Blues,
Kas Product,
Scan 7,
Mandrill,
Tres Demented,
Eric Copeland,
Roxy Music,
Crime,
Yaz,
Eli Mardock,
Fluxion,
The Durutti Column,
The Mighty Diamonds,
Larry & the Blue Notes,
Camron Feat. Memphis Bleek And Beenie Seigel,
10cc,
Crash Course in Science,
Jerry's Kids,
A Certain Ratio,
June Days,
the Soft Cell,
Ash Ra Tempel,
Radiopuhelimet,
Throbbing Gristle,
Laurel Aitken,
DNA,
Y Pants,
The Invisible,
Neil Young & Crazy Horse,
Lou Reed & John Cale,
Lungfish,
Subhumans,
Nico,
The Last Poets,
Grey Daturas,
Bang On A Can,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.