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 Sri Lanka and from Philadelphia.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1978.
I'm losing my edge.
To all the kids in Accra and Delhi.
I'm losing my edge to the art-school Johannesburg 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 rhodes 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 Excepter to the jazz 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 Anthony Braxton. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every Harry Pussy record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Fat Boys record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Dorothy Ashby,
A Certain Ratio,
James Chance & The Contortions,
Vainqueur,
Wighnomy Brothers & Robag Wruhme,
Eli Mardock,
Moby Grape,
The Slackers,
Make Up,
Deakin,
Nation of Ulysses,
Severed Heads,
Nick Fraelich,
Isaac Hayes,
Blake Baxter,
the Bar-Kays,
Kerri Chandler,
Desert Stars,
Roxette,
Dennis Brown,
Harry Pussy,
New York Dolls,
Reuben Wilson,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Alton Ellis,
Morten Harket,
Faraquet,
Lou Reed & Metallica,
Pulsallama,
Porter Ricks,
Angry Samoans,
The Monochrome Set,
The Moody Blues,
Lucky Dragons,
Danielle Patucci,
London Community Gospel Choir,
Janne Schatter,
Main Source,
Ornette Coleman,
MDC,
Whodini,
B.T. Express,
Gang of Four,
Organ,
The Detroit Cobras,
Archie Shepp,
Bad Manners,
Parry Music,
Marc Romboy vs. Booka Shade,
Lou Reed,
The Chocolate Watch Band,
Hashim,
John Holt,
E-Dancer,
Stereo Dub,
Godley & Creme,
Max Romeo,
Skaos,
Don Cherry,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.