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 San Marino and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Madrid and London.
I'm losing my edge to the art-school Beijing 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 theremin 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 Marcia Griffiths to the jazz kids.
I played it at the Hacienda.
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 Black Pus. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every the Sonics 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
The Golliwogs,
Jeff Mills,
Eric Copeland,
Ultimate Spinach,
Matthew Bourne,
The Remains,
Quadrant,
The United States of America,
Glenn Branca,
Jesper Dahlbäck,
The Music Machine,
the Fania All-Stars,
Johnny Clarke,
Janne Schatter,
Pantaleimon,
Nick Fraelich,
Rhythim Is Rhythim,
Suicide,
Rosa Yemen,
Faraquet,
Soft Machine,
Tom Boy,
Albert Ayler,
Alphaville,
Hasil Adkins,
Surgeon,
the Association,
Gerry Rafferty,
Duran Duran,
Vainqueur,
The Gap Band,
Kayak,
Kerri Chandler,
Beasts of Bourbon,
Agent Orange,
DeepChord presents Echospace,
David Axelrod,
The Moleskins,
Monks,
Moebius,
These Immortal Souls,
Kerrie Biddell,
The Martian,
The Dirtbombs,
Rekid,
Fifty Foot Hose,
Mo-Dettes,
The Fire Engines,
Nils Olav,
Joey Negro,
Arab on Radar,
Kings Of Tomorrow,
The Kinks,
The Five Americans,
Half Japanese,
Aural Exciters,
Livin' Joy,
Larry & the Blue Notes,
The Real Kids,
The Shadows of Knight,
Jerry's Kids,
The Busters, The Busters, The Busters, The Busters.
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.