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 Mongolia and from Taipei.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1978.
I'm losing my edge.
To all the kids in Woodstock and Madrid.
I'm losing my edge to the art-school Manila 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 Tom Verlaine 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 Sun Ra to the disco 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 Blake Baxter. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Patti Smith 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Radiopuhelimet,
Hashim,
Lalo Schifrin,
Barrington Levy,
Dawn Penn,
New Age Steppers,
Kool G Rap & DJ Polo,
Godley & Creme,
Interpol,
Eric Dolphy,
Amon Düül,
Siouxsie and the Banshees,
The Evens,
Susan Cadogan,
The Dave Clark Five,
Max Romeo,
T.S.O.L.,
Rowland S Howard / Lydia Lunch,
Amazonics,
Graham Central Station,
R.M.O.,
Glenn Branca,
The Raincoats,
Clear Light,
The West Coast Pop Art Experimental Band,
Eddi Front,
Henry Cow,
The Red Krayola,
Kayak,
DNA,
Visage,
Brick,
Swell Maps,
CMW,
Faust,
The J.B.'s,
Ajijia Myrayebe,
Roxy Music,
Q65,
Altered Images,
L. Decosne,
Throbbing Gristle,
Thee Headcoats,
The Royal Family And The Poor,
Tommy Roe,
Black Bananas,
Josef K,
Kings Of Tomorrow,
Minny Pops,
Sugar Minott,
Sarah Menescal,
Wings,
The Count Five,
Gil Scott-Heron and Jamie xx,
Shoche,
The Moody Blues,
The Doors,
KRS-One,
Subhumans, Subhumans, Subhumans, Subhumans.
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.