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 Cape Verde and from Portland.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1978.
I'm losing my edge.
To all the kids in Lille and Spokane.
I'm losing my edge to the art-school Taipei 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Eyeless In Gaza to the dance kids.
I played it at the Troubador.
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 Lyres. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
Blake Baxter,
The Birthday Party,
The Wake,
The Jesus and Mary Chain,
Royal Trux,
Andrew Ashong & Theo Parrish,
The Remains,
The Grass Roots,
The Gap Band,
Babytalk,
Lou Reed & Metallica,
Eyeless In Gaza,
Trumans Water,
Jerry's Kids,
Fugazi,
Sun City Girls,
The United States of America,
Flipper,
Talk Talk,
The Dead C,
In Retrospect,
Kerri Chandler,
KRS-One,
Robert Wyatt,
Sunsets and Hearts,
The Misunderstood,
Justin Hinds & The Dominoes,
the Sonics,
Rapeman,
Public Enemy,
The Names,
Avey Tare,
Lafayette Afro Rock Band,
Yellowson,
Bluetip,
Byron Stingily,
Rotary Connection,
The Durutti Column,
Eric B and Rakim,
Newcleus,
Bobby Hutcherson,
Darondo,
Siouxsie and the Banshees,
Josef K,
Todd Rundgren,
Drexciya,
R.M.O.,
The Real Kids,
Alice Coltrane,
The Pretty Things,
Clear Light,
Boogie Down Productions,
Scion,
Mandrill,
Quantec,
Guru Guru,
Graham Central Station,
Con Funk Shun,
Y Pants,
Sonny Sharrock,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.