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 Rwanda and from Columbus.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Glasgow.
I'm losing my edge to the art-school Portland 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Pagans to the funk 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 Fela Kuti. All the underground hits.
All The Dave Clark Five tracks. I heard you have a vinyl of every Con Funk Shun 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ituana record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dave Gahan,
Technova,
Basic Channel,
Deakin,
Soulsonic Force,
Brass Construction,
New York Dolls,
Adolescents,
Reagan Youth,
Skriet,
The Techniques,
Cabaret Voltaire,
the Human League,
Charles Mingus,
The Fire Engines,
Suicide,
Yellowson,
Fluxion,
Visage,
The Index,
AZ,
Skarface,
Sun City Girls,
T.S.O.L.,
the Fania All-Stars,
Japan,
Monks,
Parry Music,
JFA,
Qualms,
Saccharine Trust,
Ponytail,
Laurel Aitken,
Grey Daturas,
the Sonics,
Sound Behaviour,
Lakeside,
Pere Ubu,
Unrelated Segments,
Con Funk Shun,
Kauko Röyhkä ja Narttu,
Red Lorry Yellow Lorry,
The Real Kids,
Intrusion,
Main Source,
Mission of Burma,
Be Bop Deluxe,
Rosa Yemen,
Audionom,
Inner City,
World's Most,
Los Fastidios,
Beasts of Bourbon,
Wings,
John Coltrane,
Sandy B,
the Bar-Kays,
John Holt,
Nirvana,
Scott Walker,
Teenage Jesus and the Jerks,
Soul II Soul,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.