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 Albania and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Houston and Bremen.
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 1968 at the first Bowie practice in a loft in Bromley.
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 Ken Boothe to the punk 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 Inner City. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Gastr Del Sol,
Pylon,
Ossler,
Harmonia,
A Certain Ratio,
Gregory Isaacs,
Sister Nancy,
Can,
Maurizio,
Zapp,
Pet Shop Boys,
The United States of America,
Das Ding,
Scion,
Shuggie Otis,
Man Eating Sloth,
Nas,
Radiopuhelimet,
Gil Scott Heron,
Bill Near,
The Raincoats,
Masters at Work,
The Sisters of Mercy,
Quando Quango,
Red Lorry Yellow Lorry,
David Axelrod,
Joy Division,
Sonny Sharrock,
48th St. Collective,
The Fuzztones,
Heaven 17,
New Age Steppers,
Model 500,
the Sonics,
Sad Lovers and Giants,
Newcleus,
Country Joe & The Fish,
JFA,
Magma,
The Men They Couldn't Hang,
Minor Threat,
Los Fastidios,
Judy Mowatt,
Jeff Mills,
Joyce Sims,
Rowland S Howard / Lydia Lunch,
Bobby Byrd,
Andrew Ashong & Theo Parrish,
Lungfish,
Cabaret Voltaire,
The Black Dice,
Steve Hackett,
Grandmaster Flash,
The Chocolate Watch Band,
Ken Boothe,
Glambeats Corp.,
the Bar-Kays,
CMW,
Sexual Harrassment,
Severed Heads,
The Toasters, The Toasters, The Toasters, The Toasters.
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.