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 Antigua and from Milan.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Cairo.
I'm losing my edge to the art-school Houston 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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro 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 Ice-T to the funk 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 Be Bop Deluxe. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every Thompson Twins 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 an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Shoche,
Maurizio,
Swell Maps,
Teenage Jesus and the Jerks,
Davy DMX,
Suicide,
Strawberry Alarm Clock,
Ken Boothe,
Dual Sessions,
Index,
Rod Modell,
The Detroit Cobras,
Brothers Johnson,
Inner City,
Barclay James Harvest,
Infiniti,
Marc Almond,
Dennis Brown,
Popol Vuh,
Masters at Work,
Scion,
Matthew Halsall,
Faraquet,
Tom Boy,
Bronski Beat,
Wire,
The Walker Brothers,
Joey Negro,
Intrusion,
Colin Newman,
Roy Ayers Ubiquity,
The Modern Lovers,
Eden Ahbez,
Andrew Hill,
Oneida,
The Stooges,
Jacob Miller,
Fat Boys,
Alison Limerick,
Saccharine Trust,
Camberwell Now,
Letta Mbulu,
Chris & Cosey,
Alphaville,
Avey Tare's Slasher Flicks,
Drexciya,
The Moleskins,
Gabor Szabo,
Swans,
Zapp,
Blake Baxter,
Rapeman,
The Selecter,
Lucky Dragons,
Flipper,
Sad Lovers and Giants,
The Index,
James White and The Blacks,
Marcia Griffiths,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.