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 Bangladesh and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1967 to 1973.
I'm losing my edge.
To all the kids in Beijing and Sao Paulo.
I'm losing my edge to the art-school Manchester 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 Lewis practice in a loft in Vancouver.
I was working on the chamberlin 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 Young Marble Giants to the grime kids.
I played it at the 40 Watt.
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 These Immortal Souls. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every Motorama record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
Harmonia,
Pagans,
Lizzy Mercier Descloux,
Oneida,
Erykah Badu,
Schoolly D,
Justin Hinds & The Dominoes,
The Residents,
Alton Ellis,
Black Moon,
Joensuu 1685,
The Fire Engines,
Tim Buckley,
Lakeside,
E-Dancer,
Junior Murvin,
Thee Headcoats,
Franke,
Icehouse,
Man Parrish,
Rod Modell,
Ultra Naté,
Spoonie Gee,
Skaos,
Throbbing Gristle,
Porter Ricks,
Heavy D & The Boyz,
H. Thieme,
John Lydon,
Moebius,
Kas Product,
Ronan,
Cabaret Voltaire,
The Blackbyrds,
Organ,
OOIOO,
Minutemen,
Scion,
Masters at Work,
The Names,
Essential Logic,
Babytalk,
Los Fastidios,
The Real Kids,
The Pop Group,
Grey Daturas,
Jimmy McGriff,
Jesper Dahlback,
Magma,
Byron Stingily,
Thinking Fellers Union Local 282,
Minnie Riperton,
Das Ding,
Groovy Waters,
DJ Sneak,
The Fall,
Barclay James Harvest,
Soul II Soul,
Mantronix,
Barry Ungar,
Joe Smooth,
Marvin Gaye,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.