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 Peru and from Shanghai.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1961 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Manila.
I'm losing my edge to the art-school Milan 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 Josef K practice in a loft in Edinburgh.
I was working on the snare 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 Stiv Bators to the rap 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 Nick Fraelich. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Chris & Cosey record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
Electric Prunes,
Pierre Henry,
Darondo,
Lalo Schifrin,
New Age Steppers,
Warren Ellis,
Organ,
AZ,
Barclay James Harvest,
Henry Cow,
Fugazi,
Maleditus Sound,
Joy Division,
X-102,
Steve Hackett,
Max Romeo,
Bootsy's Rubber Band,
The J.B.'s,
Tom Boy,
JFA,
Bush Tetras,
Sonic Youth,
Essential Logic,
Make Up,
Andrew Hill,
Grauzone,
Little Man,
Sun Ra Arkestra,
The Pop Group,
a-ha,
Laurel Aitken,
Cheater Slicks,
Neil Young,
the Soft Cell,
Babytalk,
Be Bop Deluxe,
The Alarm Clocks,
Ponytail,
Camouflage,
The Velvet Underground,
Gil Scott Heron,
Khruangbin,
Soft Machine,
Symarip,
Nick Fraelich,
Minny Pops,
It's A Beautiful Day,
The Blues Magoos,
Black Moon,
Funkadelic,
Radio Birdman,
Kayak,
Public Enemy,
Bill Near,
Subhumans,
Ken Boothe,
The Toasters,
Brick,
Theoretical Girls,
Sly & The Family Stone,
Sixth Finger,
The Mummies, The Mummies, The Mummies, The Mummies.
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.