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 East Timor and from Beijing.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Johannesburg.
I'm losing my edge to the art-school Spokane 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the sitar 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 K-Klass to the funk 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 The Monochrome Set. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Kool Moe Dee,
Kaleidoscope,
Eyeless In Gaza,
Throbbing Gristle,
Rites of Spring,
Underground Resistance,
The Moleskins,
Mantronix,
Marine Girls,
Ossler,
Icehouse,
Soul Sonic Force,
Ultra Naté,
Girls At Our Best!,
Black Sheep,
Pete Rock & C.L. Smooth,
The Pretty Things,
The Star Department,
Erasure,
Judy Mowatt,
Idris Muhammad,
Supertramp,
Josef K,
the Germs,
L. Decosne,
The Divine Comedy,
Blancmange,
Guru Guru,
The Pop Group,
Oppenheimer Analysis,
Stereo Dub,
The Music Machine,
The Smoke,
Hot Snakes,
The Moody Blues,
Country Teasers,
New Age Steppers,
Mars,
Heavy D & The Boyz,
Andrew Ashong & Theo Parrish,
Oblivians,
The Blues Magoos,
Lucky Dragons,
Ornette Coleman,
Susan Cadogan,
Soft Machine,
The Happenings,
Pylon,
Liliput,
48th St. Collective,
Jandek,
Peter Gordon & Love of Life Orchestra,
Marcia Griffiths,
Captain Beefheart & His Magic Band,
the Fania All-Stars,
Jeff Lynne,
Popol Vuh,
Saccharine Trust,
Pantytec,
Johnny Clarke,
Fela Kuti, Fela Kuti, Fela Kuti, Fela Kuti.
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.