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 Qatar and from Accra.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Lagos.
I'm losing my edge to the art-school Johannesburg 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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald 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 Bootsy Collins to the disco kids.
I played it at the Crocodile.
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 Shuggie Otis. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Connie Case 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
Jerry Gold Smith,
The Detroit Cobras,
Yellowson,
The Flesh Eaters,
John Coltrane,
The Toasters,
Tres Demented,
Lightning Bolt,
Talk Talk,
China Crisis,
Josef K,
Hot Snakes,
Hasil Adkins,
Visage,
Kerri Chandler,
Mission of Burma,
Aswad,
Jeru the Damaja,
Sly & The Family Stone,
Fifty Foot Hose,
The Fall,
Crispian St. Peters,
Toni Rubio,
F. McDonald,
Kauko Röyhkä ja Narttu,
Jerry's Kids,
The Slits,
The J.B.'s,
The Peanut Butter Conspiracy,
Sticky Fingaz feat. Raekwon,
Jeff Mills,
Rakim,
The Leaves,
The Fugs,
The Moleskins,
The Misunderstood,
Peter Gordon & Love of Life Orchestra,
Hoover,
Malaria!,
The Litter,
Graham Central Station,
Sun City Girls,
Amon Düül II,
Popol Vuh,
Sam Rivers,
Brand Nubian,
Sixth Finger,
Bluetip,
Schoolly D,
Negative Approach,
Public Enemy,
Blake Baxter,
The Black Dice,
Arthur Verocai,
Essential Logic,
Oppenheimer Analysis,
Prince Buster,
New York Dolls,
Japan,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.