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 Haiti and from Manchester.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1969 to 1974.
I'm losing my edge.
To all the kids in London and Mumbai.
I'm losing my edge to the art-school Seoul 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the rhodes 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 Stetsasonic to the rock kids.
I played it at the 40 Watt.
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 Scratch Acid. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Organ record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Minnie Riperton,
Sugar Minott,
The Smiths,
New Age Steppers,
Arthur Verocai,
Sam Rivers,
Terror Squad Feat. Camron,
Underground Resistance,
Soul II Soul,
Bobby Womack,
Glambeats Corp.,
Bill Wells,
Pharoah Sanders,
The Last Poets,
Interpol,
Marvin Gaye,
Malaria!,
Scan 7,
Suburban Knight,
Jeff Lynne,
Qualms,
the Bar-Kays,
Magma,
Mark Hollis,
Tears for Fears,
Livin' Joy,
Reagan Youth,
Graham Central Station,
Marc Almond,
Sister Nancy,
Sun Ra Arkestra,
Swans,
Red Lorry Yellow Lorry,
B.T. Express,
The Raincoats,
48th St. Collective,
the Association,
Black Moon,
Aaron Thompson,
Q and Not U,
Arab on Radar,
The Velvet Underground,
DNA,
Bill Near,
John Foxx,
Dawn Penn,
Bob Dylan,
The Real Kids,
Pantytec,
Dr. Dre and Snoop Doggy Dog,
Pantaleimon,
Josef K,
Glenn Branca,
The Beau Brummels,
Carl Craig,
The Remains,
Visionaries,LMNO, T- Love & Iriscience,
Franke,
Unwound,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.