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 Bulgaria and from Columbus.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1966 to 1970.
I'm losing my edge.
To all the kids in Lyon and Sao Paulo.
I'm losing my edge to the art-school Sao Paulo 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 1978 at the first Visage practice in a loft in London.
I was working on the sitar 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 Ultimate Spinach to the jazz 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 Gregory Isaacs. All the underground hits.
All Whodini tracks. I heard you have a vinyl of every Harry Pussy record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Bobby Hutcherson,
Jesper Dahlbäck,
Frankie Knuckles,
Mantronix,
Althea and Donna,
The Cosmic Jokers,
Sister Nancy,
June of 44,
John Cale,
New Order,
T.S.O.L.,
48th St. Collective,
Kaleidoscope,
Country Teasers,
Wasted Youth,
Mo-Dettes,
Whodini,
Soft Machine,
Visionaries,LMNO, T- Love & Iriscience,
The Buckinghams,
Neu!,
The Vogues,
Technova,
Ponytail,
Visage,
Reagan Youth,
The Fire Engines,
Fela Kuti,
Negative Approach,
Talk Talk,
Infiniti,
Shuggie Otis,
John Coltrane,
Nils Olav,
The Monks,
Red Lorry Yellow Lorry,
Youth Brigade,
Louis and Bebe Barron,
Blake Baxter,
Severed Heads,
Kas Product,
John Holt,
Roy Ayers Ubiquity,
Avey Tare,
Make Up,
Ornette Coleman,
Arcadia,
Audionom,
Girls At Our Best!,
Gian Franco Pienzio,
T. Rex,
The Detroit Cobras,
Quando Quango,
Lou Reed,
Pharoah Sanders,
CMW,
John Lydon,
Donny Hathaway,
Bizarre Inc.,
The American Breed,
The Martian,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.