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 Lebanon and from Stockholm.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Madrid and Mumbai.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord 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 The Victims to the dance 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 Peter and Kerry. All the underground hits.
All Angels of Light & Akron/Family tracks. I heard you have a vinyl of every June Days record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rekid record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
The Associates,
Piero Umiliani,
Blancmange,
X-101,
Bobby Byrd,
Hoover,
Soft Cell,
Fatback Band,
Nas,
The Alarm Clocks,
Dave Gahan,
Severed Heads,
Archie Shepp,
Bobby Hutcherson,
Letta Mbulu,
The Flesh Eaters,
The Residents,
The Shadows of Knight,
The Kinks,
Section 25,
Fort Wilson Riot,
Franke,
Swell Maps,
Eurythmics,
Whodini,
Fear,
Kerrie Biddell,
A Certain Ratio,
Lalo Schifrin,
Traffic Nightmare,
Rufus Thomas,
The Angels of Light,
Intrusion,
L. Decosne,
Robert Wyatt,
Ajijia Myrayebe,
The Moody Blues,
Minnie Riperton,
Young Marble Giants,
Morten Harket,
Matthew Halsall,
Sunsets and Hearts,
Eden Ahbez,
The Gories,
Drexciya,
Scion,
Barclay James Harvest,
Sandy B,
Derrick Morgan,
James Chance & The Contortions,
Terrestrial Tones,
Jacob Miller,
Smog,
Kerri Chandler,
Arab on Radar,
Fad Gadget,
Amon Düül II,
Justin Hinds & The Dominoes,
R.M.O.,
Gian Franco Pienzio,
The Busters,
Arcadia,
The Invisible, The Invisible, The Invisible, The Invisible.
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.