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 Eritrea and from Stockholm.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 Salvador and Mexico City.
I'm losing my edge to the art-school Sao Paulo 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Sugar Minott to the disco kids.
I played it at the Spitz.
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 Skriet. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every the Normal 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Sonics,
Monks,
Thee Headcoats,
Matthew Bourne,
Gichy Dan,
Public Image Ltd.,
Cluster,
John Foxx,
The Standells,
the Soft Cell,
Captain Beefheart & His Magic Band,
Mad Mike,
Make Up,
Ronnie Foster,
Nas,
Anthony Braxton,
Sexual Harrassment,
Donald Byrd,
Gong,
Popol Vuh,
Faraquet,
Jacob Miller,
Ten City,
X-102,
Barrington Levy,
Mars,
a-ha,
Marshall Jefferson,
Pharaoh Sanders and the Fire Engines,
Slave,
The Detroit Cobras,
Ponytail,
The Fugs,
Funkadelic,
Gang of Four,
Gerry Rafferty,
Kauko Röyhkä ja Narttu,
AZ,
Black Bananas,
In Retrospect,
Livin' Joy,
The Gun Club,
Severed Heads,
Reuben Wilson,
Fear,
Heavy D & The Boyz,
Scan 7,
DeepChord presents Echospace,
Wolf Eyes,
Sonny Sharrock,
The Last Poets,
FM Einheit,
Slick Rick,
Pagans,
JFA,
Scott Walker,
Siouxsie and the Banshees,
Kerri Chandler,
John Holt,
Tom Boy,
OOIOO,
Todd Terry,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.