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 Uganda and from London.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Manila and Calgary.
I'm losing my edge to the art-school Mexico City 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 guitar 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 Black Pus to the jazz kids.
I played it at Cafe Wha.
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 T. Rex. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every Pagans 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Davy DMX 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?
Faust,
Faraquet,
Easy Going,
The Smoke,
Eric B and Rakim,
Hot Snakes,
the Germs,
The Dead C,
The Five Americans,
Sexual Harrassment,
Make Up,
Unwound,
Blancmange,
Cecil Taylor,
Gang Starr,
John Lydon,
Darondo,
Peter & Gordon,
Grandmaster Flash and the Furious Five,
Rotary Connection,
The Detroit Cobras,
David Axelrod,
The Zeros,
Terrestrial Tones,
The Dave Clark Five,
E-Dancer,
Anthony Braxton,
Adolescents,
Steve Hackett,
Manfred Mann's Earth Band,
The Real Kids,
Art Ensemble Of Chicago,
Fort Wilson Riot,
Funky Four + One,
Lyres,
Heaven 17,
Average White Band,
Deadbeat,
Prince Buster,
Mission of Burma,
the Slits,
Lebanon Hanover,
The Walker Brothers,
The Count Five,
The Gladiators,
Robert Wyatt,
Soul Sonic Force,
The Victims,
Neil Young & Crazy Horse,
Richard Hell and the Voidoids,
ABC,
Lee Hazlewood,
T.S.O.L.,
Gabor Szabo,
X-102,
The Slackers,
Laurel Aitken,
Sonny Sharrock,
Jimmy McGriff,
Sad Lovers and Giants,
Banda Bassotti,
Skarface,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.