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 Poland and from Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1971.
I'm losing my edge.
To all the kids in Lagos and Taipei.
I'm losing my edge to the art-school Toronto 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 sitar 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 Eli Mardock 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 Roxy Music. All the underground hits.
All The Cowsills tracks. I heard you have a vinyl of every The Gap Band record on German import.
I heard that you have a white label of every seminal electroclash 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 an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
Country Joe & The Fish,
Clear Light,
Scion,
Bob Dylan,
Sun City Girls,
Justin Hinds & The Dominoes,
Au Pairs,
Marine Girls,
Eddi Front,
Arab on Radar,
F. McDonald,
Strawberry Alarm Clock,
The Victims,
Robert Görl,
Vaughan Mason & Crew,
Moebius,
Notorious Big And Bone Thugs,
Gang Gang Dance,
The Evens,
The Leaves,
The J.B.'s,
The Cramps,
Monks,
Vainqueur,
Robert Wyatt,
Desert Stars,
Jawbox,
The Seeds,
Black Bananas,
Aloha Tigers,
Albert Ayler,
Grauzone,
Fluxion,
PIL,
Banda Bassotti,
Tropical Tobacco,
Arcadia,
Barclay James Harvest,
Orchestral Manoeuvres in the Dark,
Scratch Acid,
Ken Boothe,
Rahsaan Roland Kirk,
Neil Young,
Youth Brigade,
Lalann,
Jacques Brel,
The Electric Prunes,
Gary Puckett & The Union Gap,
Notorious BIG live in Amsterdam,
The Saints,
Lyres,
Dorothy Ashby,
The Divine Comedy,
Rowland S Howard / Lydia Lunch,
Laurel Aitken,
Unwound,
Kas Product,
Bobby Womack,
Kerrie Biddell,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.