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 Bhutan and from Accra.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Mumbai 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 güiro 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 Cabaret Voltaire to the crunk kids.
I played it at Trash.
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 Barclay James Harvest. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Accadde A 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Jacob Miller record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
Swell Maps,
Ultravox,
DJ Style,
Mantronix,
The Index,
Sight & Sound,
Bizarre Inc.,
Godley & Creme,
The Techniques,
Lightning Bolt,
Graham Central Station,
Stetsasonic,
Animal Collective,
MC5,
Panda Bear,
Fort Wilson Riot,
48th St. Collective,
Rhythim Is Rhythim,
Rowland S Howard / Lydia Lunch,
Crispian St. Peters,
Lindisfarne,
8 Eyed Spy,
Gregory Isaacs,
Circle Jerks,
Pantaleimon,
Marmalade,
Hot Snakes,
Tom Boy,
It's A Beautiful Day,
Country Teasers,
Visage,
Blancmange,
AZ,
10cc,
Derrick Morgan,
Boogie Down Productions,
Drive Like Jehu,
cv313,
The Star Department,
Rahsaan Roland Kirk,
Jesper Dahlback,
Barrington Levy,
Sun Ra Arkestra,
The Tremeloes,
Justin Hinds & The Dominoes,
The Gun Club,
Ludus,
The Move,
Trumans Water,
Rekid,
Tears for Fears,
Ultimate Spinach,
Pete Rock & C.L. Smooth,
Kool G Rap & DJ Polo,
Alice Coltrane,
Neil Young & Crazy Horse,
Robert Wyatt,
Banda Bassotti,
Peter and Kerry,
Oppenheimer Analysis,
Reagan Youth,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.