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 Gabon and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Taipei and Philadelphia.
I'm losing my edge to the art-school London 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 güiro 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 Grauzone to the funk 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 X-Ray Spex. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Dorothy Ashby record on German import.
I heard that you have a white label of every seminal techno 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 snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Nick Fraelich,
Cluster,
The Monks,
The Cure,
Iggy Pop,
The Velvet Underground,
The Mighty Diamonds,
Section 25,
Black Flag,
Thinking Fellers Union Local 282,
Gang of Four,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Barracudas,
KRS-One,
X-101,
The Beau Brummels,
The Red Krayola,
Lou Reed & John Cale,
The Gun Club,
The Doobie Brothers,
Mary Jane Girls,
Deadbeat,
Sight & Sound,
Oblivians,
Rhythim Is Rhythim,
Max Romeo,
Marshall Jefferson,
The Fortunes,
The Flesh Eaters,
Nas,
A Flock of Seagulls,
Easy Going,
Soft Cell,
Nico,
John Coltrane,
Charles Mingus,
David McCallum,
Alton Ellis,
Jandek,
Fluxion,
Prince Buster,
Eurythmics,
Barry Ungar,
Rosa Yemen,
Darondo,
The Music Machine,
Tommy Roe,
Gil Scott Heron,
Terrestrial Tones,
DJ Style,
Jawbox,
Cal Tjader,
Urselle,
Andrew Hill,
Cymande,
Selector Dub Narcotic,
Tomorrow,
Bush Tetras,
The Chocolate Watch Band,
The Offenders,
The Names,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.