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 Philippines and from Manchester.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Accra and Sao Paulo.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron 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 Talk Talk to the rap kids.
I played it at Cafe Wha.
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 Jeru the Damaja. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every The Royal Family And The Poor 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 '80s cut and another box set from the '70s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet 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?
Kurtis Blow,
Silicon Teens,
Bang On A Can,
Nik Kershaw,
Drexciya,
Half Japanese,
Arthur Verocai,
Gichy Dan,
Kerri Chandler,
Y Pants,
Visage,
X-102,
Marmalade,
Jerry's Kids,
Roxette,
Lafayette Afro Rock Band,
Bush Tetras,
Symarip,
Nick Fraelich,
Unrelated Segments,
The Grass Roots,
Matthew Halsall,
Dennis Brown,
The Birthday Party,
The Divine Comedy,
Pole,
JFA,
Michelle Simonal,
Stiv Bators,
Aural Exciters,
Johnny Clarke,
Johnny Osbourne,
Wighnomy Brothers & Robag Wruhme,
Soulsonic Force,
Jawbox,
The Durutti Column,
Robert Wyatt,
The Alarm Clocks,
Deakin,
Sound Behaviour,
F. McDonald,
Saccharine Trust,
Angels of Light & Akron/Family,
Alison Limerick,
Pharaoh Sanders and the Fire Engines,
Godley & Creme,
Gang Gang Dance,
Los Fastidios,
Nick Cave & The Bad Seeds,
In Retrospect,
48th St. Collective,
Minny Pops,
The Fortunes,
Kool Moe Dee,
The Gladiators,
Electric Light Orchestra,
Skarface,
Average White Band,
Todd Terry,
Dual Sessions,
The Human League,
PIL, PIL, PIL, PIL.
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.