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 Bulgaria and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Johannesburg 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 1978 at the first Visage practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Tom Verlaine 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 Sugar Minott to the punk kids.
I played it at CBGB's.
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 L. Decosne. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Brand Nubian record on German import.
I heard that you have a white label of every seminal punk 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 sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Kaleidoscope,
The Chocolate Watch Band,
D'Angelo,
Niagra,
Grandmaster Flash,
Q65,
Grandmaster Flash and the Furious Five,
The J.B.'s,
Drive Like Jehu,
Sad Lovers and Giants,
Jacques Brel,
Lou Reed,
Blossom Toes,
KRS-One,
Nick Cave & The Bad Seeds,
Chris & Cosey,
Ash Ra Tempel,
The Sonics,
Reagan Youth,
Matthew Bourne,
PIL,
Vladislav Delay,
Kurtis Blow,
Gil Scott-Heron and Jamie xx,
The Doobie Brothers,
Echo & the Bunnymen,
Accadde A,
The Neon Judgement,
The West Coast Pop Art Experimental Band,
The Music Machine,
Archie Shepp,
Notorious BIG live in Amsterdam,
The Peanut Butter Conspiracy,
DJ Sneak,
The Names,
Loose Ends,
London Community Gospel Choir,
Lower 48,
The Royal Family And The Poor,
Iggy Pop,
The Moleskins,
Patti Smith,
Clear Light,
Frankie Knuckles,
Fatback Band,
Kool G Rap & DJ Polo,
Panda Bear,
Letta Mbulu,
Kerrie Biddell,
The Motions,
Stiv Bators,
Traffic Nightmare,
Tres Demented,
Arthur Verocai,
F. McDonald,
ABC,
Popol Vuh,
FM Einheit,
Siglo XX,
Stetsasonic,
The Dead C,
Surgeon,
The Slits, The Slits, The Slits, The Slits.
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.