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 Angola and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1973.
I'm losing my edge.
To all the kids in Toronto and Toronto.
I'm losing my edge to the art-school Johannesburg 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 rhodes 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 Ohio Players to the electroclash kids.
I played it at CBGB's.
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 Brothers Johnson. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every John Coltrane record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
Ajijia Myrayebe,
MDC,
Bad Manners,
Sound Behaviour,
the Germs,
Arcadia,
Youth Brigade,
Fugazi,
Jacques Brel,
LL Cool J,
The Associates,
Sun Ra Arkestra,
Bill Near,
Mark Hollis,
Gabor Szabo,
Jacob Miller,
Black Moon,
De La Soul & Jungle Brothers,
Laurel Aitken,
Franke,
Nils Olav,
Johnny Osbourne,
Visage,
Cameo,
Kaleidoscope,
Sixth Finger,
The Cowsills,
The New Christs,
The J.B.'s,
Lalo Schifrin,
The Slackers,
Jesper Dahlback,
Gian Franco Pienzio,
The Seeds,
Groovy Waters,
Young Marble Giants,
Fifty Foot Hose,
Sex Pistols,
Saccharine Trust,
Wolf Eyes,
the Swans,
Absolute Body Control,
Nas,
Sun Ra,
Marine Girls,
Juan Atkins,
Hasil Adkins,
Archie Shepp,
Pere Ubu,
The Offenders,
Rapeman,
Derrick Morgan,
Qualms,
Main Source,
Bobby Womack,
Dark Day,
Electric Light Orchestra,
Radiohead,
Terry Callier,
The Monks,
Lee Hazlewood,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.