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 Uganda and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Portland and Taipei.
I'm losing my edge to the art-school Calgary 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 rhodes 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 Mary Jane Girls to the rap kids.
I played it at Cafe Wha.
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 Hardrive. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every Throbbing Gristle record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Jerry's Kids,
The Angels of Light,
Crime,
X-102,
James Chance & The Contortions,
The Tremeloes,
Ronan,
Surgeon,
Fat Boys,
Black Sheep,
Bad Manners,
John Foxx,
Susan Cadogan,
Gil Scott-Heron and Jamie xx,
Marcia Griffiths,
Lee Hazlewood,
the Sonics,
Rhythm & Sound,
Minny Pops,
Wolf Eyes,
Pussy Galore,
Steve Hackett,
L. Decosne,
Röyhkä ja Rättö ja Lehtisalo,
Eric Dolphy,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Richard Hell and the Voidoids,
D'Angelo,
Gastr Del Sol,
LL Cool J,
The Litter,
Fugazi,
Eden Ahbez,
Avey Tare & Kría Brekkan,
Von Mondo,
David Bowie,
Pere Ubu,
Sticky Fingaz feat. Raekwon,
Lindisfarne,
Sun Ra,
Ultimate Spinach,
The Motions,
Kool Moe Dee,
Gerry Rafferty,
The Seeds,
The American Breed,
The Wake,
Tom Boy,
Nils Olav,
Wire,
The Searchers,
Soft Machine,
Chrome,
Half Japanese,
John Lydon,
The Fortunes,
Manfred Mann's Earth Band,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.