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 El Salvador and from Portland.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Bologna and Winnipeg.
I'm losing my edge to the art-school Bremen 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the organ 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 Marcia Griffiths to the electroclash 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 Lyres. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Lou Reed & John Cale 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
The Leaves,
Country Joe & The Fish,
Lee Hazlewood,
Darondo,
Dave Gahan,
Girls At Our Best!,
Underground Resistance,
Scion,
Andrew Ashong & Theo Parrish,
Mark Hollis,
Popol Vuh,
Alice Coltrane,
Robert Wyatt,
Black Flag,
Mad Mike,
Peter and Kerry,
Cabaret Voltaire,
Neu!,
Kings Of Tomorrow,
A Certain Ratio,
Freddie Wadling,
Swell Maps,
Section 25,
John Lydon,
Lightning Bolt,
Ronan,
Brand Nubian,
Hasil Adkins,
MC5,
The West Coast Pop Art Experimental Band,
Infiniti,
Fat Boys,
Siouxsie and the Banshees,
Electric Light Orchestra,
Gil Scott Heron,
The Kinks,
Scientists,
Clear Light,
Vladislav Delay,
Loose Ends,
Rotary Connection,
Gil Scott-Heron and Jamie xx,
Half Japanese,
Teenage Jesus and the Jerks,
Heavy D & The Boyz,
Jeru the Damaja,
Pagans,
Jeff Lynne,
These Immortal Souls,
Slick Rick,
Barry Ungar,
Adolescents,
L. Decosne,
Stereo Dub,
Byron Stingily,
Wire,
Rosa Yemen,
Goldenarms,
Eyeless In Gaza,
Sad Lovers and Giants,
Barbara Tucker,
Stockholm Monsters,
Drexciya, Drexciya, Drexciya, Drexciya.
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.