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 Portugal and from Shanghai.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1969 to 1974.
I'm losing my edge.
To all the kids in Taipei and Manila.
I'm losing my edge to the art-school Lyon 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin 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 Josef K to the rap kids.
I played it at the Roxy.
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 Sex Pistols. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Larry & the Blue Notes 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Rakim,
Brothers Johnson,
The Wake,
The Alarm Clocks,
The Fire Engines,
Excepter,
Camouflage,
Rites of Spring,
Johnny Clarke,
Slick Rick,
Pulsallama,
The Real Kids,
Letta Mbulu,
Jimmy McGriff,
Andrew Ashong & Theo Parrish,
Joey Negro,
Pantaleimon,
Shuggie Otis,
K-Klass,
Eve St. Jones,
Piero Umiliani,
Sixth Finger,
Susan Cadogan,
Deadbeat,
kango's stein massive,
Pagans,
Jeff Lynne,
Gregory Isaacs,
Junior Murvin,
Bob Dylan,
Whodini,
The West Coast Pop Art Experimental Band,
Louis and Bebe Barron,
Fad Gadget,
Mission of Burma,
Country Teasers,
Mark Hollis,
Marcia Griffiths,
Motorama,
Joyce Sims,
The Chocolate Watch Band,
LL Cool J,
Echo & the Bunnymen,
John Lydon,
Spoonie Gee,
Brand Nubian,
Smog,
Pet Shop Boys,
Cymande,
The Red Krayola,
Gil Scott Heron,
Boz Scaggs,
KRS-One,
Peter and Kerry,
Dorothy Ashby,
Bizarre Inc.,
Brass Construction,
Popol Vuh,
Sun Ra Arkestra,
Godley & Creme,
Crooked Eye,
Roy Ayers,
Royal Trux,
Main Source, Main Source, Main Source, Main Source.
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.