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 Romania and from Bologna.
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 1971.
I'm losing my edge.
To all the kids in Salvador and Winnipeg.
I'm losing my edge to the art-school Taipei 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 linndrum 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 Negative Approach to the grime 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 Deadbeat. All the underground hits.
All Neu! tracks. I heard you have a vinyl of every Lindisfarne record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
The Last Poets,
Bill Near,
Kauko Röyhkä ja Narttu,
Make Up,
Avey Tare's Slasher Flicks,
Sound Behaviour,
Sandy B,
Kool G Rap & DJ Polo,
The Black Dice,
Bobby Byrd,
Lindisfarne,
Graham Central Station,
Blake Baxter,
Ultra Naté,
Young Marble Giants,
Stetsasonic,
Ponytail,
The Gun Club,
Kango’s Stein Massive,
Dark Day,
Matthew Halsall,
Loose Ends,
Gang Starr,
The Knickerbockers,
Angels of Light & Akron/Family,
Anthony Braxton,
Visage,
Sun Ra Arkestra,
Fugazi,
Country Teasers,
Drive Like Jehu,
Ronnie Foster,
Rapeman,
The Mighty Diamonds,
Cybotron,
A Certain Ratio,
Robert Görl,
DNA,
Lou Reed & John Cale,
Boz Scaggs,
Mo-Dettes,
Skriet,
Talk Talk,
Lakeside,
Public Image Ltd.,
Joey Negro,
Pere Ubu,
Jesper Dahlback,
Sister Nancy,
Dennis Brown,
The Flesh Eaters,
Bobbi Humphrey,
Donald Byrd,
Lizzy Mercier Descloux,
Average White Band,
Grauzone,
Sugar Minott,
the Sonics,
John Coltrane,
Amon Düül,
One Last Wish,
These Immortal Souls,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.