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 Nauru and from Taipei.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Salvador and Tokyo.
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 1978 at the first Visage practice in a loft in London.
I was working on the snare 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 Avey Tare's Slasher Flicks to the techno kids.
I played it at the Troubador.
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 Marine Girls. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Marvin Gaye record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
Organ,
Funkadelic,
Whodini,
Crash Course in Science,
Sun City Girls,
Public Image Ltd.,
Brass Construction,
Gabor Szabo,
Groovy Waters,
Hoover,
The Count Five,
The Walker Brothers,
the Sonics,
Sam Rivers,
The Barracudas,
Tubeway Army,
Stetsasonic,
Al Stewart,
Jacob Miller,
Selector Dub Narcotic,
Gil Scott-Heron & Brian Jackson,
Symarip,
Bluetip,
Ronan,
Cabaret Voltaire,
Malaria!,
Danielle Patucci,
Wighnomy Brothers & Robag Wruhme,
The Grass Roots,
Deepchord,
Suburban Knight,
Eden Ahbez,
Wolf Eyes,
Altered Images,
Isaac Hayes,
T. Rex,
Rekid,
Rufus Thomas,
The Moody Blues,
Gil Scott Heron,
the Bar-Kays,
Dark Day,
Deadbeat,
Johnny Clarke,
Suicide,
Minor Threat,
John Foxx,
The Dirtbombs,
Shuggie Otis,
Gerry Rafferty,
Bobby Byrd,
8 Eyed Spy,
The Fire Engines,
Sticky Fingaz feat. Raekwon,
Inner City,
Major Organ And The Adding Machine,
The American Breed,
Zapp,
Lakeside,
Deakin,
Sugar Minott,
Radiohead, Radiohead, Radiohead, Radiohead.
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.