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 Vietnam and from Edmonton.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Tehran and Manchester.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the snare 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 Visage to the funk 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 Scott Walker. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Bronski Beat record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Harmonia,
Super Lover Cee & Casanova Rud,
Bobby Byrd,
De La Soul & Jungle Brothers,
Leonard Cohen,
Slick Rick,
Theoretical Girls,
The New Christs,
The Standells,
Yazoo,
Jesper Dahlbäck,
Skarface,
Letta Mbulu,
Kool G Rap & DJ Polo,
Ultramagnetic MC's,
Amazonics,
Ornette Coleman,
Gil Scott Heron,
Warsaw,
Magazine,
The Offenders,
the Fania All-Stars,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sun City Girls,
Pantaleimon,
Heaven 17,
Sun Ra Arkestra,
F. McDonald,
Derrick May,
The Velvet Underground,
Roy Ayers Ubiquity,
Arcadia,
Red Lorry Yellow Lorry,
Brick,
Sun Ra,
R.M.O.,
the Soft Cell,
Cymande,
Electric Light Orchestra,
The Monks,
Faraquet,
Spandau Ballet,
The Divine Comedy,
David Axelrod,
Pete Rock & C.L. Smooth,
Mad Mike,
Roxy Music,
Sarah Menescal,
Bobby Hutcherson,
Laurel Aitken,
Glenn Branca,
KRS-One,
The Birthday Party,
The Leaves,
Intrusion,
Camouflage,
Dawn Penn,
Ronan,
Warren Ellis,
Outsiders,
Livin' Joy, Livin' Joy, Livin' Joy, Livin' Joy.
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.