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 Indonesia and from Tehran.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Cairo and Beijing.
I'm losing my edge to the art-school Delhi 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 güiro 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 Bill Near to the grunge 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 Vainqueur. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Aaron Thompson,
Janne Schatter,
John Lydon,
Avey Tare,
Kango’s Stein Massive,
Ultramagnetic MC's,
Red Lorry Yellow Lorry,
Lizzy Mercier Descloux,
The Young Rascals,
Mars,
The Evens,
Hot Snakes,
F. McDonald,
Ralphi Rosario,
Porter Ricks,
London Community Gospel Choir,
Throbbing Gristle,
Man Eating Sloth,
The Litter,
Jeru the Damaja,
The Monochrome Set,
Isaac Hayes,
Rites of Spring,
Stetsasonic,
Ultimate Spinach,
Schoolly D,
The Slits,
Hardrive,
Procol Harum,
Marcia Griffiths,
Outsiders,
Y Pants,
Flipper,
Kool G Rap & DJ Polo,
Archie Shepp,
Popol Vuh,
T.S.O.L.,
Jesper Dahlbäck,
Sound Behaviour,
Charles Mingus,
Goldenarms,
Glenn Branca,
The J.B.'s,
Stereo Dub,
Scion,
Pulsallama,
Gregory Isaacs,
Gil Scott Heron,
Whodini,
The Walker Brothers,
Mad Mike,
Lakeside,
Mantronix,
The Remains,
the Human League,
B.T. Express,
Newcleus,
The Red Krayola,
8 Eyed Spy,
Spandau Ballet,
Grandmaster Flash and the Furious Five,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.