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 Ivory Coast and from Copenhagen.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1976.
I'm losing my edge.
To all the kids in Manchester and Jakarta.
I'm losing my edge to the art-school Madrid 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 The Jesus and Mary Chain to the disco 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 Rosa Yemen. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Circle Jerks record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Banda Bassotti,
Public Enemy,
Fluxion,
Morten Harket,
Hoover,
The Real Kids,
Bobby Sherman,
The Count Five,
The Selecter,
Maurizio,
the Bar-Kays,
Shoche,
Peter Gordon & Love of Life Orchestra,
Adolescents,
Johnny Clarke,
UT,
Ronnie Foster,
Sugar Minott,
Shuggie Otis,
Steve Hackett,
Boogie Down Productions,
Lizzy Mercier Descloux,
Heavy D & The Boyz,
Colin Newman,
The Blues Magoos,
Fort Wilson Riot,
Royal Trux,
The Invisible,
Lindisfarne,
Joy Division,
Ronan,
Grandmaster Flash and the Furious Five,
Ultimate Spinach,
Minor Threat,
The Doobie Brothers,
Rowland S Howard / Lydia Lunch,
David McCallum,
Radiopuhelimet,
Guru Guru,
Kool G Rap & DJ Polo,
The Flesh Eaters,
Harmonia,
Mr. Review,
Vaughan Mason & Crew,
Kool Moe Dee,
Los Fastidios,
Little Man,
Soul Sonic Force,
The American Breed,
Amon Düül,
Junior Murvin,
Camouflage,
Gastr Del Sol,
Manfred Mann's Earth Band,
Sandy B,
Rapeman,
Teenage Jesus and the Jerks,
Babytalk,
Whodini,
Reuben Wilson,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.