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 Monaco and from Tokyo.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Halifax.
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 808 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 Blake Baxter to the electroclash kids.
I played it at the Astoria.
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 The Birthday Party. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every Alphaville 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Ornette Coleman,
James White and The Blacks,
Make Up,
CMW,
Skaos,
The Offenders,
Ash Ra Tempel,
Deutsch Amerikanische Freundschaft,
Danielle Patucci,
Sight & Sound,
Pierre Henry,
F. McDonald,
The Beau Brummels,
Agitation Free,
Lucky Dragons,
The Moleskins,
Gil Scott-Heron & Brian Jackson,
Harmonia,
UT,
The Star Department,
Eli Mardock,
Monks,
Kool Moe Dee,
Bill Near,
Faust,
Circle Jerks,
Darondo,
Rowland S Howard / Lydia Lunch,
Anthony Braxton,
Pantytec,
Minny Pops,
The Seeds,
The Standells,
Oneida,
Jacques Brel,
Gerry Rafferty,
Jacob Miller,
Rakim,
Junior Murvin,
JFA,
Harpers Bizarre,
Scion,
Ten City,
Aloha Tigers,
K-Klass,
A Certain Ratio,
The Shadows of Knight,
Theoretical Girls,
Sad Lovers and Giants,
Lalann,
The Cosmic Jokers,
The Golliwogs,
Zapp,
Lindisfarne,
Kerri Chandler,
John Holt,
Lebanon Hanover,
Sex Pistols,
Lonnie Liston Smith,
Hasil Adkins,
Dawn Penn,
the Sonics,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.