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 South Africa and from Toronto.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Manila and Hong Kong.
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 1968 at the first Bowie practice in a loft in Bromley.
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 Quadrant to the disco kids.
I played it at the Spitz.
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 Public Enemy. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Sun City Girls 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 '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your organ and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
Brand Nubian,
Notorious BIG live in Amsterdam,
E-Dancer,
Joensuu 1685,
The Gories,
Masters at Work,
the Association,
Lou Reed,
The Index,
Eli Mardock,
H. Thieme,
Steve Hackett,
the Bar-Kays,
X-Ray Spex,
Freddie Wadling,
Harpers Bizarre,
Lebanon Hanover,
Stockholm Monsters,
Leonard Cohen,
Radiopuhelimet,
The Leaves,
John Holt,
Black Moon,
Warsaw,
The Happenings,
Silicon Teens,
The Vogues,
Dual Sessions,
Sugar Minott,
Dr. Dre and Snoop Doggy Dog,
Nick Fraelich,
Grauzone,
Röyhkä ja Rättö ja Lehtisalo,
Arthur Verocai,
The Dirtbombs,
Henry Cow,
Television,
Junior Murvin,
Barclay James Harvest,
Massinfluence,
Cal Tjader,
Reagan Youth,
A Flock of Seagulls,
Make Up,
Idris Muhammad,
Sister Nancy,
The Jesus and Mary Chain,
Rhythm & Sound,
Crash Course in Science,
Black Flag,
The Alarm Clocks,
Boz Scaggs,
Super Lover Cee & Casanova Rud,
One Last Wish,
Sex Pistols,
Groovy Waters,
a-ha,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.