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 Haiti and from Glasgow.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Bremen and Milan.
I'm losing my edge to the art-school Bologna 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the theremin 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 Chris & Cosey to the grunge 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 Pagans. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every Ultramagnetic MC's 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Davy DMX record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
Red Lorry Yellow Lorry,
Henry Cow,
John Cale,
Röyhkä ja Rättö ja Lehtisalo,
Masters at Work,
Matthew Bourne,
K-Klass,
The Names,
Notorious Big And Bone Thugs,
Dead Boys,
Terror Squad Feat. Camron,
Gong,
Jawbox,
Eric B and Rakim,
Little Man,
Stockholm Monsters,
Bobby Sherman,
Model 500,
Ten City,
Tomorrow,
Wolf Eyes,
CMW,
Mission of Burma,
The Pretty Things,
Jesper Dahlbäck,
Audionom,
Pere Ubu,
Fad Gadget,
The Skatalites,
The Men They Couldn't Hang,
Clear Light,
Minutemen,
Tubeway Army,
Kool G Rap & DJ Polo,
Intrusion,
Minnie Riperton,
Strawberry Alarm Clock,
Colin Newman,
Kayak,
Depeche Mode,
Ronan,
Arab on Radar,
Pierre Henry,
Peter and Kerry,
Connie Case,
Grey Daturas,
Monks,
Tres Demented,
Chris & Cosey,
Fat Boys,
World's Most,
Wally Richardson,
Young Marble Giants,
Sun Ra,
Orchestral Manoeuvres in the Dark,
Andrew Hill,
John Coltrane,
Kerrie Biddell,
FM Einheit,
Gian Franco Pienzio,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.