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 Switzerland and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1967 to 1978.
I'm losing my edge.
To all the kids in Lagos and Tokyo.
I'm losing my edge to the art-school Lille 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Doobie Brothers to the electroclash kids.
I played it at the Spitz.
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 Masters at Work. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Al Stewart,
Maurizio,
Wighnomy Brothers & Robag Wruhme,
Rufus Thomas,
Sun Ra Arkestra,
the Swans,
Tommy Roe,
The Move,
Malaria!,
The Victims,
The Music Machine,
Amon Düül,
Justin Hinds & The Dominoes,
Dave Gahan,
Nick Fraelich,
The Associates,
Unwound,
Swell Maps,
Theoretical Girls,
Hoover,
Dorothy Ashby,
Minutemen,
Sarah Menescal,
Mandrill,
Chris Corsano,
K-Klass,
Minnie Riperton,
Black Flag,
Bobby Byrd,
Radio Birdman,
The Shadows of Knight,
Easy Going,
The Men They Couldn't Hang,
Echospace,
Matthew Halsall,
Mars,
Sexual Harrassment,
The Leaves,
Alice Coltrane,
Marvin Gaye,
Red Lorry Yellow Lorry,
Slick Rick,
Quantec,
Camberwell Now,
Scrapy,
Sister Nancy,
The Invisible,
Supertramp,
The Sisters of Mercy,
The Skatalites,
Fela Kuti,
Nirvana,
Spoonie Gee,
The Fall,
Interpol,
The Modern Lovers,
The Pretty Things,
Sandy B,
The United States of America,
Gary Puckett & The Union Gap,
The Red Krayola,
Fear, Fear, Fear, Fear.
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.