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 Sri Lanka and from Taipei.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Columbus and Beijing.
I'm losing my edge to the art-school Bremen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Nas to the rap kids.
I played it at the Astoria.
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 the Slits. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every Maleditus Sound 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Bang On A Can,
Peter and Kerry,
The Slits,
Wally Richardson,
Albert Ayler,
Skarface,
Kango’s Stein Massive,
Oblivians,
Gang Green,
Charles Mingus,
Spandau Ballet,
ABC,
cv313,
Nation of Ulysses,
The Dirtbombs,
Terrestrial Tones,
Supertramp,
Matthew Halsall,
Severed Heads,
Eden Ahbez,
Sly & The Family Stone,
The Misunderstood,
Gang Gang Dance,
Vaughan Mason & Crew,
Erykah Badu,
KRS-One,
The Sonics,
Groovy Waters,
Infiniti,
Lou Reed,
Stockholm Monsters,
Ken Boothe,
Hoover,
David McCallum,
The Pop Group,
The Victims,
Darondo,
Bush Tetras,
10cc,
Andrew Ashong & Theo Parrish,
Ash Ra Tempel,
Eddi Front,
Bronski Beat,
Bauhaus,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Red Lorry Yellow Lorry,
Malaria!,
Pantaleimon,
Goldenarms,
The Monks,
Talk Talk,
The Zeros,
Man Parrish,
K-Klass,
June of 44,
It's A Beautiful Day,
Aaron Thompson,
Excepter,
R.M.O.,
48th St. Collective,
Curtis Mayfield,
Lower 48,
Rakim, Rakim, Rakim, Rakim.
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.