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 Vanuatu and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Madrid and Winnipeg.
I'm losing my edge to the art-school Accra 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 Funkadelic to the funk kids.
I played it at the Roxy.
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 Fall. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every H. Thieme record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Cybotron record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Arthur Verocai,
The Fire Engines,
Flipper,
Cal Tjader,
the Fania All-Stars,
Sonny Sharrock,
Fort Wilson Riot,
Matthew Halsall,
Rhythm & Sound,
Judy Mowatt,
The Offenders,
The American Breed,
Rosa Yemen,
Second Layer,
Tubeway Army,
Bad Manners,
Zapp,
Soft Cell,
Nico,
Cabaret Voltaire,
The Remains,
London Community Gospel Choir,
Red Lorry Yellow Lorry,
Mad Mike,
Stereo Dub,
PIL,
X-102,
Tears for Fears,
Porter Ricks,
Minny Pops,
Crash Course in Science,
Echospace,
Silicon Teens,
Strawberry Alarm Clock,
Charles Mingus,
the Slits,
Grauzone,
Television Personalities,
Electric Prunes,
Joensuu 1685,
Cymande,
Eric Copeland,
Jandek,
Jeff Mills,
The Seeds,
The Men They Couldn't Hang,
Jerry Gold Smith,
Minutemen,
Lindisfarne,
Manfred Mann's Earth Band,
Oblivians,
Todd Terry,
Stockholm Monsters,
Rakim,
Warren Ellis,
Ossler,
Index,
Animal Collective,
Fatback Band,
Bang On A Can,
Barry Ungar,
James Chance & The Contortions,
The Associates, The Associates, The Associates, The Associates.
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.