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 Niger and from Taipei.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Halifax and Houston.
I'm losing my edge to the art-school Hong Kong 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 clarinet 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 Joensuu 1685 to the dance kids.
I played it at the Hacienda.
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 Porter Ricks. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Fifty Foot Hose record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
T.S.O.L.,
Erasure,
Bauhaus,
Gichy Dan,
Chrome,
Kenny Larkin,
R.M.O.,
Sad Lovers and Giants,
Albert Ayler,
Desert Stars,
Captain Beefheart & His Magic Band,
Cluster,
Vaughan Mason & Crew,
Heavy D & The Boyz,
Sonny Sharrock,
A Certain Ratio,
Wolf Eyes,
The Standells,
Dual Sessions,
T. Rex,
Quando Quango,
Yaz,
Gerry Rafferty,
The Black Dice,
Bobby Sherman,
Roy Ayers Ubiquity,
Yusef Lateef,
Carl Craig,
Magma,
Intrusion,
Jeff Lynne,
In Retrospect,
Mark Hollis,
Dawn Penn,
Cheater Slicks,
Public Enemy,
Mad Mike,
Cymande,
Lightning Bolt,
Parry Music,
the Association,
Radiohead,
Frankie Knuckles,
the Germs,
Ohio Players,
H. Thieme,
Monolake,
Tomorrow,
Ornette Coleman,
KRS-One,
Y Pants,
Althea and Donna,
Kauko Röyhkä ja Narttu,
Hardrive,
Monks,
Kaleidoscope,
Thompson Twins,
Ossler,
Lou Reed & Metallica,
Deutsch Amerikanische Freundschaft,
The Residents, The Residents, The Residents, The Residents.
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.