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 Kiribati and from Tehran.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1968 to 1977.
I'm losing my edge.
To all the kids in Tehran and Calgary.
I'm losing my edge to the art-school Lagos 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 at the first Suicide practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Jacob Miller to the grunge kids.
I played it at Cafe Wha.
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 Gregory Isaacs. All the underground hits.
All Sun Ra tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Skatalites,
Fugazi,
Jandek,
Japan,
the Fania All-Stars,
Deadbeat,
Big Daddy Kane,
Lightning Bolt,
Buzzcocks,
Crash Course in Science,
Altered Images,
Gang Gang Dance,
Skarface,
Soft Machine,
The Evens,
Rhythim Is Rhythim,
Spandau Ballet,
Gregory Isaacs,
Bronski Beat,
Amon Düül II,
Y Pants,
The Royal Family And The Poor,
Bob Dylan,
Supertramp,
Bad Manners,
Tres Demented,
The Sisters of Mercy,
The Count Five,
Soft Cell,
Oneida,
Marc Romboy vs. Booka Shade,
Sound Behaviour,
Surgeon,
Skaos,
Duran Duran,
Cabaret Voltaire,
Scrapy,
Archie Shepp,
Joyce Sims,
Excepter,
the Human League,
Henry Cow,
Judy Mowatt,
Kerrie Biddell,
The Last Poets,
Trumans Water,
Roger Hodgson,
Outsiders,
In Retrospect,
Animal Collective,
Kings Of Tomorrow,
Neu!,
Marine Girls,
The Fortunes,
Circle Jerks,
Yazoo,
Half Japanese,
Deakin,
Max Romeo,
Rakim,
The Alarm Clocks,
Ash Ra Tempel,
Gabor Szabo,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.