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 Cambodia and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Delhi and Tehran.
I'm losing my edge to the art-school Taipei 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 spring reverb 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 Masters at Work to the rap kids.
I played it at the Troubador.
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 Sly & The Family Stone. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every Goldenarms record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Zero Boys record.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Shadows of Knight,
The Sound,
Cabaret Voltaire,
Boz Scaggs,
Qualms,
R.M.O.,
Lyres,
Charles Mingus,
Roxy Music,
Schoolly D,
The Pop Group,
Gang Green,
Thee Headcoats,
Gary Puckett & The Union Gap,
China Crisis,
Pylon,
Liliput,
Little Man,
Lee Hazlewood,
Bobby Hutcherson,
David McCallum,
Anakelly,
The United States of America,
Lalann,
The Golliwogs,
Aaron Thompson,
Davy DMX,
Electric Prunes,
ABC,
the Bar-Kays,
The Trojans,
John Coltrane,
Bobby Byrd,
Ludus,
The Mighty Diamonds,
The Monks,
The Five Americans,
Severed Heads,
Stereo Dub,
Parry Music,
The Toasters,
The Men They Couldn't Hang,
The Modern Lovers,
Black Flag,
The Walker Brothers,
The Motions,
Ten City,
James Chance & The Contortions,
Black Moon,
Funky Four + One,
Donny Hathaway,
Kevin Saunderson,
Altered Images,
The Dead C,
Mark Hollis,
Ohio Players,
Dawn Penn,
Sun City Girls,
DJ Style,
Barry Ungar,
Louis and Bebe Barron,
U.S. Maple,
The Leaves, The Leaves, The Leaves, The Leaves.
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.