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 South Africa and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Mumbai.
I'm losing my edge to the art-school Cairo 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 guitar 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 Skaos to the funk kids.
I played it at the Spitz.
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 Sam Rivers. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every Eric B and Rakim record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Red Lorry Yellow Lorry,
Underground Resistance,
Vaughan Mason & Crew,
Massinfluence,
Rosa Yemen,
Maleditus Sound,
Piero Umiliani,
KRS-One,
Susan Cadogan,
Public Enemy,
F. McDonald,
48th St. Collective,
Bronski Beat,
Liaisons Dangereuses,
the Slits,
X-102,
Technova,
Wasted Youth,
D'Angelo,
The Red Krayola,
Dave Gahan,
Wighnomy Brothers & Robag Wruhme,
Althea and Donna,
Sun Ra Arkestra,
Motorama,
MDC,
Grauzone,
Jeff Mills,
Avey Tare's Slasher Flicks,
James White and The Blacks,
Notorious Big And Bone Thugs,
DeepChord presents Echospace,
The Neon Judgement,
Sonic Youth,
Isaac Hayes,
ABC,
Circle Jerks,
Loose Ends,
Sandy B,
The Evens,
John Lydon,
Jacob Miller,
Panda Bear,
New Age Steppers,
The Cramps,
8 Eyed Spy,
Lyres,
Smog,
Bootsy's Rubber Band,
Rhythm & Sound,
Roy Ayers Ubiquity,
Marc Almond,
Glenn Branca,
Jawbox,
The Kinks,
Peter and Kerry,
Rhythim Is Rhythim,
Camouflage,
The Modern Lovers,
Hardrive,
Bobby Sherman,
The Doors, The Doors, The Doors, The Doors.
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.