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 Iraq and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Toronto and Mumbai.
I'm losing my edge to the art-school Bremen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the guitar 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 Unrelated Segments to the grime 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 Danielle Patucci. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
Camberwell Now,
Gary Puckett & The Union Gap,
Cabaret Voltaire,
The New Christs,
Black Sheep,
Roy Ayers,
Oppenheimer Analysis,
Main Source,
D'Angelo,
Todd Terry,
the Sonics,
Oblivians,
Althea and Donna,
Joyce Sims,
The Associates,
Animal Collective,
Wolf Eyes,
Ludus,
Wighnomy Brothers & Robag Wruhme,
Terrestrial Tones,
The Gap Band,
Gil Scott Heron,
Saccharine Trust,
Tom Boy,
Arthur Verocai,
Sarah Menescal,
Radio Birdman,
The Sisters of Mercy,
Pere Ubu,
Heaven 17,
The Last Poets,
Can,
The Zeros,
Khruangbin,
The Durutti Column,
The Leaves,
Matthew Bourne,
David Bowie,
Funky Four + One,
Kerri Chandler,
Neil Young,
48th St. Collective,
Buzzcocks,
Fad Gadget,
Ponytail,
Faust,
Sixth Finger,
Severed Heads,
Janne Schatter,
Avey Tare & Kría Brekkan,
Teenage Jesus and the Jerks,
Rites of Spring,
Big Daddy Kane,
Crispy Ambulance,
A Flock of Seagulls,
Quadrant,
Barbara Tucker, Barbara Tucker, Barbara Tucker, Barbara Tucker.
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.