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 Malaysia and from Manila.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1976.
I'm losing my edge.
To all the kids in Johannesburg and Tehran.
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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Hoover to the punk kids.
I played it at Trash.
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 Bill Near tracks. I heard you have a vinyl of every Scratch Acid 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 an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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 Invisible,
Jerry's Kids,
Au Pairs,
Notorious Big And Bone Thugs,
Youth Brigade,
Eurythmics,
Eddi Front,
Mark Hollis,
Ajijia Myrayebe,
Danielle Patucci,
Bad Manners,
Animal Collective,
DJ Style,
F. McDonald,
Cal Tjader,
Gang Green,
AZ,
Harry Pussy,
Eric Dolphy,
Andrew Hill,
Harmonia,
The Human League,
Cluster,
Girls At Our Best!,
The Gun Club,
The Durutti Column,
The Mojo Men,
Bob Dylan,
Neu!,
Bobbi Humphrey,
Schoolly D,
Lalo Schifrin,
10cc,
Basic Channel,
Flipper,
Al Stewart,
Cymande,
Gian Franco Pienzio,
Stereo Dub,
Fear,
New York Dolls,
UT,
Half Japanese,
The Cosmic Jokers,
Gang of Four,
Delta 5,
The Martian,
Robert Wyatt,
The Offenders,
OOIOO,
Orchestral Manoeuvres in the Dark,
The Barracudas,
Whodini,
Heavy D & The Boyz,
The Alarm Clocks,
Judy Mowatt,
Sun City Girls,
Nation of Ulysses,
Bluetip,
Roxy Music,
Amon Düül,
Ronnie Foster,
Nick Cave & The Bad Seeds,
Pharoah Sanders, Pharoah Sanders, Pharoah Sanders, Pharoah Sanders.
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.