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 Egypt and from Accra.
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 1972.
I'm losing my edge.
To all the kids in Bologna and Halifax.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum 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 Pharaoh Sanders and the Fire Engines to the grime kids.
I played it at the 40 Watt.
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 Faraquet. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every The Mummies 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 '80s cut and another box set from the '90s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Accadde A record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
John Lydon,
Dual Sessions,
Rowland S Howard / Lydia Lunch,
Dead Boys,
Piero Umiliani,
Kurtis Blow,
The Detroit Cobras,
The New Christs,
Young Marble Giants,
Silicon Teens,
Accadde A,
Albert Ayler,
Kaleidoscope,
8 Eyed Spy,
Camberwell Now,
Mission of Burma,
Con Funk Shun,
Ultra Naté,
Guru Guru,
Art Ensemble Of Chicago,
Lee Hazlewood,
Kas Product,
Unrelated Segments,
Radiopuhelimet,
Todd Terry,
Sound Behaviour,
Procol Harum,
Brothers Johnson,
Funkadelic,
Bill Near,
Robert Hood,
The Trojans,
Ajijia Myrayebe,
Lou Reed & John Cale,
Gabor Szabo,
Bizarre Inc.,
X-Ray Spex,
Das Ding,
Scion,
Andrew Ashong & Theo Parrish,
Sly & The Family Stone,
Amon Düül II,
Vaughan Mason & Crew,
The Smiths,
Nas,
Oblivians,
Neil Young,
Boredoms,
Ossler,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Bobby Hutcherson,
Graham Central Station,
Zero Boys,
Slick Rick,
Sex Pistols,
Cluster,
Peter Gordon & Love of Life Orchestra,
Carl Craig,
Massinfluence,
Alphaville,
The Standells,
Goldenarms,
The Martian, The Martian, The Martian, The Martian.
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.