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 St Lucia and from Taipei.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1962 to 1974.
I'm losing my edge.
To all the kids in Bologna and Lille.
I'm losing my edge to the art-school Edmonton 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the arpeggiator 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 Japan to the dance kids.
I played it at the Troubador.
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 Henry Cow. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Mary Jane Girls record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Donny Hathaway record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Larry & the Blue Notes,
Cecil Taylor,
Avey Tare,
James White and The Blacks,
Cameo,
Newcleus,
Dave Gahan,
Juan Atkins,
Massinfluence,
Black Bananas,
The Wake,
The Alarm Clocks,
Chris & Cosey,
Rotary Connection,
Kaleidoscope,
Drexciya,
Judy Mowatt,
Oppenheimer Analysis,
John Coltrane,
Zapp,
Pete Rock & C.L. Smooth,
Andrew Hill,
The Velvet Underground,
The Kinks,
T. Rex,
Eli Mardock,
Nas,
Monolake,
Rod Modell,
Los Fastidios,
John Holt,
Bush Tetras,
Groovy Waters,
Laurel Aitken,
The J.B.'s,
The Techniques,
Shuggie Otis,
CMW,
Sällskapet,
Quantec,
Kings Of Tomorrow,
Faraquet,
The Smiths,
Derrick Morgan,
The Mighty Diamonds,
Ossler,
Fort Wilson Riot,
Isaac Hayes,
Desert Stars,
The Dave Clark Five,
Eddi Front,
Robert Görl,
Icehouse,
Oblivians,
H. Thieme,
Silicon Teens,
Guru Guru,
Quando Quango,
Spandau Ballet,
Visionaries,LMNO, T- Love & Iriscience,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.