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 Comoros and from Paris.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Salvador.
I'm losing my edge to the art-school Hong Kong 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 Throbbing Gristle practice in a loft in London.
I was working on the marimba 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 Joe Smooth to the dance 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 The Pop Group. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every The Last Poets 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your güiro and bought an oboe.
I hear that you and your band have sold your oboe and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
Lonnie Liston Smith,
Roy Ayers,
Quando Quango,
A Flock of Seagulls,
Brass Construction,
Buzzcocks,
Goldenarms,
Archie Shepp,
Pagans,
Skarface,
Au Pairs,
Terry Callier,
Arab on Radar,
Excepter,
Inner City,
Röyhkä ja Rättö ja Lehtisalo,
Sexual Harrassment,
Lower 48,
the Germs,
Major Organ And The Adding Machine,
PIL,
Spandau Ballet,
Cymande,
The Zeros,
Letta Mbulu,
Aaron Thompson,
Kings Of Tomorrow,
the Fania All-Stars,
The Fall,
Soulsonic Force,
Yusef Lateef,
Camouflage,
Warren Ellis,
A Certain Ratio,
Electric Light Orchestra,
Thinking Fellers Union Local 282,
Fad Gadget,
Gil Scott Heron,
KRS-One,
The Techniques,
Rapeman,
The Wake,
Tomorrow,
Derrick May,
Ituana,
The Men They Couldn't Hang,
Rhythim Is Rhythim,
Beasts of Bourbon,
Althea and Donna,
Alice Coltrane,
Don Cherry,
Mark Hollis,
Rosa Yemen,
Suicide,
Camberwell Now,
Electric Prunes,
The J.B.'s,
Selector Dub Narcotic,
the Association,
Deadbeat,
Lou Reed & John Cale,
Brick,
Audionom, Audionom, Audionom, Audionom.
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.