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 Libya and from Columbus.
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 1973.
I'm losing my edge.
To all the kids in Winnipeg and Stockholm.
I'm losing my edge to the art-school Jakarta 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 at the first Suicide practice in a loft in New York.
I was working on the linndrum 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 Half Japanese to the grime kids.
I played it at the Roxy.
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 Kaleidoscope. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Prince Buster 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 '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalo Schifrin,
Neil Young,
Lucky Dragons,
Susan Cadogan,
Ten City,
Shoche,
Lizzy Mercier Descloux,
Marcia Griffiths,
Nas,
The Busters,
Nick Fraelich,
Tears for Fears,
The Fortunes,
Public Enemy,
the Fania All-Stars,
Spandau Ballet,
Mission of Burma,
Sun Ra,
Urselle,
The New Christs,
Popol Vuh,
B.T. Express,
Marshall Jefferson,
Ossler,
Andrew Hill,
Flash Fearless,
A Certain Ratio,
De La Soul & Jungle Brothers,
Basic Channel,
John Lydon,
Suburban Knight,
Roxy Music,
Groovy Waters,
Alice Coltrane,
In Retrospect,
The Young Rascals,
Electric Prunes,
Grey Daturas,
Idris Muhammad,
Ronnie Foster,
Black Sheep,
The Saints,
Flamin' Groovies,
A Flock of Seagulls,
The Dead C,
Maurizio,
The Alarm Clocks,
Country Teasers,
Strawberry Alarm Clock,
Lightning Bolt,
Supertramp,
Youth Brigade,
Avey Tare & Kría Brekkan,
Anthony Braxton,
Oblivians,
John Holt,
Pharoah Sanders,
The Durutti Column,
The Mojo Men,
The Toasters,
H. Thieme,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.