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 Cameroon and from Lille.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and London.
I'm losing my edge to the art-school Cairo 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen 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 Crime to the jazz 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 Funky Four + One. All the underground hits.
All Gong tracks. I heard you have a vinyl of every Glambeats Corp. record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Vaughan Mason & Crew,
Scion,
Severed Heads,
Grandmaster Flash,
Soft Cell,
Jacques Brel,
Sandy B,
Lucky Dragons,
X-Ray Spex,
Warren Ellis,
Gang of Four,
Sight & Sound,
Animal Collective,
Babytalk,
Gastr Del Sol,
The Cowsills,
Cal Tjader,
Rakim,
The Seeds,
Basic Channel,
John Cale,
Stereo Dub,
Susan Cadogan,
Half Japanese,
Sugar Minott,
Richard Hell and the Voidoids,
Y Pants,
Carl Craig,
Fort Wilson Riot,
Echospace,
Groovy Waters,
Al Stewart,
Q and Not U,
Nas,
U.S. Maple,
The Sound,
Nirvana,
Alison Limerick,
Drive Like Jehu,
The Slackers,
Black Flag,
Kas Product,
Bill Near,
Rowland S Howard / Lydia Lunch,
48th St. Collective,
Freddie Wadling,
Bobby Sherman,
Barrington Levy,
Trumans Water,
Slave,
Section 25,
Mark Hollis,
Kool G Rap & DJ Polo,
Donald Byrd,
Johnny Osbourne,
Aloha Tigers,
Ultimate Spinach,
The Buckinghams,
Stetsasonic,
Sexual Harrassment,
The Angels of Light,
The Kinks, The Kinks, The Kinks, The Kinks.
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.