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 Colombia and from Milan.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Cairo and Lille.
I'm losing my edge to the art-school Philadelphia 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 808 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 The Associates to the grime 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 Aural Exciters. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Slave 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ice-T record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delta 5,
David Axelrod,
Interpol,
Jeru the Damaja,
F. McDonald,
Nirvana,
Sexual Harrassment,
The Cramps,
Grandmaster Flash,
Moby Grape,
The Slits,
The Fortunes,
Au Pairs,
The Electric Prunes,
Shuggie Otis,
Glambeats Corp.,
The Leaves,
The United States of America,
Television,
The Index,
Grandmaster Flash and the Furious Five,
Jeff Mills,
The Blues Magoos,
The Young Rascals,
Chrome,
De La Soul & Jungle Brothers,
Ronan,
Wighnomy Brothers & Robag Wruhme,
The Remains,
The Zeros,
Symarip,
Sister Nancy,
B.T. Express,
The Shadows of Knight,
The Litter,
Tom Boy,
Jesper Dahlbäck,
Man Parrish,
The Tremeloes,
London Community Gospel Choir,
Lizzy Mercier Descloux,
Smog,
Amon Düül,
48th St. Collective,
Drexciya,
Eric B and Rakim,
Model 500,
Juan Atkins,
Todd Terry,
The Fugs,
The Doobie Brothers,
Visionaries,LMNO, T- Love & Iriscience,
Swell Maps,
Tropical Tobacco,
Thinking Fellers Union Local 282,
Dennis Brown,
The New Christs,
Tears for Fears,
Joey Negro,
Mark Hollis,
Dawn Penn,
Technova,
Aloha Tigers,
Mad Mike,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.