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 Nepal and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1971.
I'm losing my edge.
To all the kids in London and Johannesburg.
I'm losing my edge to the art-school Edmonton 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the linndrum 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 Sarah Menescal to the punk 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 Marc Almond. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
48th St. Collective,
Aswad,
Tres Demented,
Audionom,
Model 500,
The Fuzztones,
Shoche,
Franke,
Bluetip,
The Remains,
Cameo,
Fear,
Graham Central Station,
Black Bananas,
Robert Hood,
Sandy B,
Bizarre Inc.,
Suicide,
Lonnie Liston Smith,
JFA,
Wally Richardson,
Pussy Galore,
Alison Limerick,
Dark Day,
Ken Boothe,
Kool G Rap & DJ Polo,
Half Japanese,
The Monochrome Set,
Scott Walker,
The Sound,
Wolf Eyes,
Electric Prunes,
Ice-T,
Nas,
Con Funk Shun,
Scientists,
Frankie Knuckles,
Lou Reed & Metallica,
The Slackers,
Avey Tare,
Ralphi Rosario,
Fluxion,
CMW,
Bob Dylan,
10cc,
Jerry's Kids,
Kerrie Biddell,
Gichy Dan,
Wighnomy Brothers & Robag Wruhme,
Derrick May,
Skarface,
Newcleus,
The Offenders,
The Kinks,
the Sonics,
Junior Murvin,
Strawberry Alarm Clock,
Index,
Babytalk,
Drexciya, Drexciya, Drexciya, Drexciya.
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.