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 Tanzania and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Delhi.
I'm losing my edge to the art-school Mexico City 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 clarinet 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 Gang Starr to the punk kids.
I played it at the 40 Watt.
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 Roxette. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every Moby Grape record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Siouxsie and the Banshees,
Roxette,
Heavy D & The Boyz,
Kauko Röyhkä ja Narttu,
Eve St. Jones,
Harry Pussy,
Make Up,
The Techniques,
Cabaret Voltaire,
Scientists,
Minnie Riperton,
Stockholm Monsters,
Nirvana,
Sugar Minott,
The Doobie Brothers,
Nico,
Johnny Clarke,
Audionom,
Country Joe & The Fish,
Terrestrial Tones,
Teenage Jesus and the Jerks,
Suicide,
Buzzcocks,
Steve Hackett,
Don Cherry,
Electric Prunes,
Mary Jane Girls,
Orchestral Manoeuvres in the Dark,
Cameo,
Oblivians,
It's A Beautiful Day,
Television Personalities,
Rekid,
Carl Craig,
The Seeds,
This Heat,
cv313,
Unrelated Segments,
Wasted Youth,
The Human League,
KRS-One,
Bizarre Inc.,
Fat Boys,
Mars,
London Community Gospel Choir,
DeepChord presents Echospace,
Barry Ungar,
Major Organ And The Adding Machine,
The J.B.'s,
Gong,
Marcia Griffiths,
Oppenheimer Analysis,
Nation of Ulysses,
Lou Christie,
Masters at Work,
Intrusion,
The Smoke,
Al Stewart,
Shoche,
Neil Young & Crazy Horse,
Pete Rock & C.L. Smooth,
Country Teasers,
Technova,
The Trojans, The Trojans, The Trojans, The Trojans.
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.