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 Cameroon and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Lagos.
I'm losing my edge to the art-school Accra 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 Tom Verlaine 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 Public Image Ltd. to the jazz 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 Jimmy McGriff. All the underground hits.
All Basic Channel tracks. I heard you have a vinyl of every Warren Ellis record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Swans,
The Tremeloes,
The Smiths,
The Moody Blues,
Swell Maps,
One Last Wish,
The Men They Couldn't Hang,
Barrington Levy,
Stereo Dub,
Minnie Riperton,
Drexciya,
Orchestral Manoeuvres in the Dark,
Marcia Griffiths,
Quadrant,
Girls At Our Best!,
Gang Green,
Niagra,
Suicide,
Alphaville,
JFA,
Nas,
Blake Baxter,
The Golliwogs,
Ice-T,
the Germs,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Doobie Brothers,
Eric Dolphy,
John Cale,
Eli Mardock,
Bauhaus,
The Invisible,
Unrelated Segments,
Pylon,
the Slits,
Zero Boys,
Matthew Halsall,
Heaven 17,
The Pretty Things,
Yusef Lateef,
Infiniti,
Susan Cadogan,
Anakelly,
Judy Mowatt,
Sunsets and Hearts,
Lakeside,
Amazonics,
Gary Puckett & The Union Gap,
Nick Cave & The Bad Seeds,
Notorious BIG live in Amsterdam,
Tears for Fears,
Supertramp,
Crispian St. Peters,
Motorama,
Boredoms,
48th St. Collective,
Excepter,
Pharaoh Sanders and the Fire Engines,
Marc Romboy vs. Booka Shade,
Los Fastidios,
Dual Sessions,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.