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 France and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Manila and Glasgow.
I'm losing my edge to the art-school London 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 harpsichord 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 Tomorrow to the rap 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 Eli Mardock. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Ultimate Spinach record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Curtis Mayfield,
Pantaleimon,
Bill Wells,
Morten Harket,
the Human League,
The Fuzztones,
The Peanut Butter Conspiracy,
Quando Quango,
Bronski Beat,
Mantronix,
The Seeds,
Country Teasers,
Grandmaster Flash,
Marmalade,
Gang Green,
Surgeon,
Guru Guru,
Tears for Fears,
Deadbeat,
Minny Pops,
Mandrill,
Grauzone,
kango's stein massive,
Radiohead,
The Blues Magoos,
Lower 48,
the Germs,
Barclay James Harvest,
Avey Tare & Kría Brekkan,
Gary Puckett & The Union Gap,
Josef K,
Q65,
Eric Copeland,
Model 500,
LL Cool J,
Simply Red,
The Fire Engines,
the Soft Cell,
Shoche,
Gang of Four,
Marc Almond,
June Days,
Scott Walker + Sunn O))),
Cybotron,
Gil Scott Heron,
Soul Sonic Force,
Pete Rock & C.L. Smooth,
Cameo,
Pagans,
E-Dancer,
Stetsasonic,
Connie Case,
Roy Ayers Ubiquity,
Shuggie Otis,
Orchestral Manoeuvres in the Dark,
Pharaoh Sanders and the Fire Engines,
Popol Vuh,
Drive Like Jehu,
It's A Beautiful Day,
Ajijia Myrayebe,
Gregory Isaacs,
Anthony Braxton,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.