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 Madagascar and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1974.
I'm losing my edge.
To all the kids in New York and Lyon.
I'm losing my edge to the art-school Lyon 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 Michael McDonald 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 Toasters to the electroclash kids.
I played it at the Roxy.
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 Johnny Clarke. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every Faraquet 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Lynne record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erasure,
Ultra Naté,
Guru Guru,
Fad Gadget,
Wally Richardson,
Neu!,
Ajijia Myrayebe,
The Zeros,
Quadrant,
The Mummies,
Colin Newman,
Mad Mike,
The Last Poets,
Moss Icon,
The Royal Family And The Poor,
Man Parrish,
Average White Band,
Shuggie Otis,
A Certain Ratio,
Nils Olav,
Grandmaster Flash and the Furious Five,
Throbbing Gristle,
Soft Machine,
Fear,
John Holt,
Rowland S Howard / Lydia Lunch,
Masters at Work,
MDC,
Deutsch Amerikanische Freundschaft,
Audionom,
Quando Quango,
Bobby Womack,
Harmonia,
Talk Talk,
Simply Red,
Khruangbin,
Big Daddy Kane,
Subhumans,
Dual Sessions,
Aural Exciters,
Sexual Harrassment,
Harpers Bizarre,
The Buckinghams,
Gil Scott-Heron and Jamie xx,
Pere Ubu,
JFA,
Davy DMX,
Intrusion,
The Selecter,
The Jesus and Mary Chain,
Robert Wyatt,
Sugar Minott,
The Fire Engines,
Popol Vuh,
Negative Approach,
Fatback Band,
Main Source,
Siouxsie and the Banshees,
Gang Green,
Pantytec,
Suicide,
Joyce Sims,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.