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 Lithuania and from Milan.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Taipei.
I'm losing my edge to the art-school Delhi 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 sitar 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 Drexciya to the funk kids.
I played it at the Troubador.
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 A Flock of Seagulls. All the underground hits.
All Sound Behaviour tracks. I heard you have a vinyl of every The Sound record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Moebius,
Heavy D & The Boyz,
Soulsonic Force,
Joyce Sims,
Porter Ricks,
Fela Kuti,
The Pop Group,
Crime,
Marcia Griffiths,
The Velvet Underground,
The Sound,
Traffic Nightmare,
Sound Behaviour,
the Association,
The Trojans,
Larry & the Blue Notes,
Toni Rubio,
Cheater Slicks,
Accadde A,
Cabaret Voltaire,
The Evens,
Bobby Sherman,
Andrew Hill,
James White and The Blacks,
The Real Kids,
Los Fastidios,
Wire,
Marine Girls,
London Community Gospel Choir,
KRS-One,
Charles Mingus,
Skriet,
The New Christs,
Hasil Adkins,
Gichy Dan,
Rekid,
Loose Ends,
Brass Construction,
The J.B.'s,
The Remains,
Tommy Roe,
New Order,
Deakin,
Lalann,
Chris & Cosey,
Black Moon,
Absolute Body Control,
Vainqueur,
Lou Reed & John Cale,
Stereo Dub,
Marc Romboy vs. Booka Shade,
Big Daddy Kane,
Gil Scott Heron,
Minnie Riperton,
Stockholm Monsters,
Thompson Twins,
The Names,
Model 500,
Black Sheep,
Rakim,
Camouflage,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.