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 Japan and from Seoul.
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 1978.
I'm losing my edge.
To all the kids in Manila and Houston.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the sitar 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 Albert Ayler to the techno 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 Black Moon. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Rotary Connection 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Spandau Ballet,
Erasure,
Soft Cell,
Anakelly,
The Mojo Men,
The Motions,
The Modern Lovers,
Minnie Riperton,
Robert Hood,
Scan 7,
Sight & Sound,
Subhumans,
Gerry Rafferty,
Icehouse,
The Martian,
Yellowson,
Sun City Girls,
The Men They Couldn't Hang,
Joey Negro,
Flipper,
John Foxx,
Larry & the Blue Notes,
Patti Smith,
Monks,
The United States of America,
The Saints,
The Peanut Butter Conspiracy,
Faust,
Prince Buster,
Chris Corsano,
Ronnie Foster,
Black Moon,
Scientists,
Boz Scaggs,
June of 44,
Brothers Johnson,
Kayak,
Kerri Chandler,
A Flock of Seagulls,
Cecil Taylor,
Connie Case,
June Days,
Liaisons Dangereuses,
Major Organ And The Adding Machine,
Oppenheimer Analysis,
Roxy Music,
Quando Quango,
The Associates,
Notorious Big And Bone Thugs,
Roxette,
Fat Boys,
Andrew Ashong & Theo Parrish,
Cabaret Voltaire,
Art Ensemble Of Chicago,
Manfred Mann's Earth Band,
Electric Light Orchestra,
Gang Starr,
Echospace, Echospace, Echospace, Echospace.
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.