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 Jordan and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Stockholm.
I'm losing my edge to the art-school Portland 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 chamberlin 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 Echo & the Bunnymen to the funk kids.
I played it at the Astoria.
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 Walker Brothers. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Hot Snakes record on German import.
I heard that you have a white label of every seminal rap 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 a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
Liaisons Dangereuses,
Aaron Thompson,
T.S.O.L.,
Suburban Knight,
Bobbi Humphrey,
Cheater Slicks,
Boogie Down Productions,
Jeff Mills,
Barclay James Harvest,
Nik Kershaw,
Deutsch Amerikanische Freundschaft,
Parry Music,
DJ Style,
Animal Collective,
Ohio Players,
The Black Dice,
Sixth Finger,
Delon & Dalcan,
Hoover,
Soul Sonic Force,
Camberwell Now,
Minor Threat,
Cluster,
Vladislav Delay,
Sparks,
John Coltrane,
Audionom,
Popol Vuh,
Excepter,
Marc Romboy vs. Booka Shade,
The Smiths,
Roy Ayers Ubiquity,
Anakelly,
Motorama,
Roger Hodgson,
Smog,
The Sisters of Mercy,
Ice-T,
Girls At Our Best!,
Major Organ And The Adding Machine,
Lou Reed & Metallica,
Traffic Nightmare,
Röyhkä ja Rättö ja Lehtisalo,
Ultra Naté,
Aswad,
Dual Sessions,
Essential Logic,
Depeche Mode,
Tomorrow,
Colin Newman,
Young Marble Giants,
Rakim,
A Flock of Seagulls,
Lou Reed,
Monolake,
Clear Light,
Kool G Rap & DJ Polo,
Todd Rundgren,
Avey Tare,
Fifty Foot Hose,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.