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 Russia and from Hong Kong.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Edmonton and Glasgow.
I'm losing my edge to the art-school Beijing 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 The Monks to the grime 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 Marmalade. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
Patti Smith,
Pylon,
The Sound,
Grauzone,
Visionaries,LMNO, T- Love & Iriscience,
The Flesh Eaters,
The Black Dice,
Barry Ungar,
Fad Gadget,
Cal Tjader,
Sun Ra,
D'Angelo,
Youth Brigade,
Lebanon Hanover,
The Shadows of Knight,
Alice Coltrane,
Dawn Penn,
Chrome,
June Days,
The Pretty Things,
Gerry Rafferty,
Hoover,
Art Ensemble Of Chicago,
Ponytail,
The United States of America,
Talk Talk,
Cabaret Voltaire,
ABBA,
Eve St. Jones,
Harry Pussy,
Quadrant,
Rhythim Is Rhythim,
The Skatalites,
John Coltrane,
Warsaw,
Lindisfarne,
Bobby Hutcherson,
Hashim,
This Heat,
Boz Scaggs,
Bang On A Can,
FM Einheit,
Mandrill,
The Blues Magoos,
Erykah Badu,
Peter and Kerry,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bill Wells,
David Axelrod,
Popol Vuh,
Mr. Review,
Public Image Ltd.,
Rotary Connection,
Fat Boys,
Pete Rock & C.L. Smooth,
Procol Harum,
Visage,
Sticky Fingaz feat. Raekwon,
The New Christs,
The Mojo Men,
Average White Band,
Supertramp,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.