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 Burundi and from New York.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1969 to 1974.
I'm losing my edge.
To all the kids in Mexico City and London.
I'm losing my edge to the art-school Glasgow 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 Stockholm Monsters to the funk kids.
I played it at CBGB's.
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 Sonics. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every LL Cool J record on German import.
I heard that you have a white label of every seminal grime 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 chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
The Golliwogs,
10cc,
The Gories,
The Seeds,
Japan,
The Gladiators,
Laurel Aitken,
Major Organ And The Adding Machine,
AZ,
Flamin' Groovies,
Whodini,
Robert Hood,
Strawberry Alarm Clock,
Juan Atkins,
Liliput,
Leonard Cohen,
June of 44,
Eddi Front,
Slave,
DeepChord presents Echospace,
Funkadelic,
Spandau Ballet,
Marcia Griffiths,
It's A Beautiful Day,
The Beau Brummels,
The Dave Clark Five,
The Blackbyrds,
the Bar-Kays,
Smog,
Todd Terry,
The New Christs,
Drexciya,
Neu!,
Pete Rock & C.L. Smooth,
Jesper Dahlbäck,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Dorothy Ashby,
Teenage Jesus and the Jerks,
Marc Romboy vs. Booka Shade,
The Standells,
Kool G Rap & DJ Polo,
Main Source,
Bronski Beat,
Scott Walker,
Gerry Rafferty,
Gil Scott-Heron & Brian Jackson,
Shuggie Otis,
Rosa Yemen,
Barclay James Harvest,
Cameo,
The Invisible,
Chris & Cosey,
The Music Machine,
The Smiths,
Harry Pussy,
Sight & Sound,
The Vogues,
Sly & The Family Stone,
The West Coast Pop Art Experimental Band,
Los Fastidios,
The Fall,
The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds.
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.