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 Liberia and from Paris.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Woodstock.
I'm losing my edge to the art-school Toronto 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Albert Ayler to the funk 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 The New Christs. All the underground hits.
All Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic tracks. I heard you have a vinyl of every Be Bop Deluxe record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lyres record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Toni Rubio,
Blossom Toes,
Severed Heads,
Cal Tjader,
The Barracudas,
Tropical Tobacco,
The Leaves,
Spoonie Gee,
Amon Düül II,
Camouflage,
Matthew Halsall,
Rhythm & Sound,
Jesper Dahlbäck,
A Flock of Seagulls,
Fluxion,
The Cowsills,
Sticky Fingaz feat. Raekwon,
Todd Rundgren,
Motorama,
LL Cool J,
The Alarm Clocks,
Judy Mowatt,
The Peanut Butter Conspiracy,
The Chocolate Watch Band,
Essential Logic,
Hasil Adkins,
John Cale,
Bobbi Humphrey,
Al Stewart,
Traffic Nightmare,
The Move,
Susan Cadogan,
Dennis Brown,
Organ,
Jacques Brel,
Wire,
Unrelated Segments,
Harry Pussy,
Siouxsie and the Banshees,
David Bowie,
Arthur Verocai,
Flipper,
Lower 48,
Wally Richardson,
Gong,
Faust,
Boredoms,
Danielle Patucci,
Pantytec,
the Soft Cell,
Flamin' Groovies,
Guru Guru,
Gang Gang Dance,
Camberwell Now,
Au Pairs,
Oneida,
Sex Pistols,
Section 25,
Magazine,
Mad Mike,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.