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 Benin and from Taipei.
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 1975.
I'm losing my edge.
To all the kids in Hong Kong and Columbus.
I'm losing my edge to the art-school Columbus 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 harpsichord 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 Minnie Riperton to the punk kids.
I played it at the Astoria.
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 Angry Samoans. All the underground hits.
All UT tracks. I heard you have a vinyl of every Glenn Branca record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
The Cramps,
Barbara Tucker,
The Zeros,
David Axelrod,
Theoretical Girls,
OOIOO,
The Associates,
Piero Umiliani,
Arthur Verocai,
Ornette Coleman,
Crime,
The Pop Group,
Blossom Toes,
The Blackbyrds,
Roxette,
Anakelly,
La Düsseldorf,
Procol Harum,
ABBA,
Soft Cell,
Ludus,
B.T. Express,
Thompson Twins,
Deadbeat,
The Litter,
T. Rex,
Erykah Badu,
The Human League,
Liaisons Dangereuses,
Camberwell Now,
Symarip,
Tomorrow,
Kool G Rap & DJ Polo,
A Certain Ratio,
the Soft Cell,
Donald Byrd,
Mars,
Boogie Down Productions,
Pylon,
Kenny Larkin,
Roy Ayers Ubiquity,
Morten Harket,
The Grass Roots,
Super Lover Cee & Casanova Rud,
Andrew Ashong & Theo Parrish,
Rowland S Howard / Lydia Lunch,
Eli Mardock,
Marc Romboy vs. Booka Shade,
Sticky Fingaz feat. Raekwon,
Dual Sessions,
Roxy Music,
Wally Richardson,
Albert Ayler,
Circle Jerks,
Make Up,
Unrelated Segments,
The Vogues,
Yusef Lateef,
Hasil Adkins,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.