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 Yemen and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Taipei.
I'm losing my edge to the art-school Lille 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 marimba sounds with much patience.
I was there when David Bowie 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 Sly & The Family Stone to the jazz kids.
I played it at Trash.
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 Michelle Simonal. All the underground hits.
All Lower 48 tracks. I heard you have a vinyl of every Scrapy record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
Skriet,
Johnny Clarke,
Arthur Verocai,
Godley & Creme,
Little Man,
Tim Buckley,
Sun City Girls,
Television Personalities,
Whodini,
Matthew Bourne,
Minor Threat,
Lou Reed & Metallica,
Easy Going,
Sexual Harrassment,
Sam Rivers,
Avey Tare's Slasher Flicks,
Anakelly,
Niagra,
Man Parrish,
The Monochrome Set,
The Trojans,
Model 500,
Donald Byrd,
Magazine,
Scion,
Sight & Sound,
Alice Coltrane,
Alison Limerick,
Interpol,
The Names,
The Flesh Eaters,
Kenny Larkin,
The Misunderstood,
Q and Not U,
Josef K,
Eric B and Rakim,
Mantronix,
Lou Christie,
Moebius,
Country Joe & The Fish,
The Red Krayola,
Todd Rundgren,
Harmonia,
Ituana,
The Busters,
Dorothy Ashby,
Sun Ra Arkestra,
Art Ensemble Of Chicago,
Pharaoh Sanders and the Fire Engines,
Crooked Eye,
Crispy Ambulance,
The Fortunes,
Gastr Del Sol,
The Barracudas,
New York Dolls,
Rakim,
Technova,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.