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 Korea South and from Mexico City.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Cairo and Houston.
I'm losing my edge to the art-school Accra 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 The Five Americans to the funk 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 Royal Trux. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Absolute Body Control record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Robert Görl,
Man Eating Sloth,
Throbbing Gristle,
Sister Nancy,
Deadbeat,
Q65,
Black Flag,
Stiv Bators,
Sun Ra Arkestra,
Kerri Chandler,
Subhumans,
Youth Brigade,
Lou Reed,
Radio Birdman,
Sad Lovers and Giants,
Kings Of Tomorrow,
Robert Wyatt,
Ultimate Spinach,
Loose Ends,
Jeru the Damaja,
Gerry Rafferty,
Gang of Four,
Marvin Gaye,
Ken Boothe,
Guru Guru,
The Skatalites,
Amazonics,
DNA,
Wasted Youth,
The Names,
Sex Pistols,
Accadde A,
Cabaret Voltaire,
The Index,
Thee Headcoats,
John Lydon,
MC5,
The Dirtbombs,
Derrick Morgan,
Blake Baxter,
Visionaries,LMNO, T- Love & Iriscience,
Arthur Verocai,
Jimmy McGriff,
Mars,
Fat Boys,
Clear Light,
Zero Boys,
Jesper Dahlbäck,
Leonard Cohen,
Minor Threat,
Oblivians,
Judy Mowatt,
Albert Ayler,
Sam Rivers,
Anakelly,
Motorama,
The Cure,
Josef K,
The Doors,
Susan Cadogan,
Kauko Röyhkä ja Narttu,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.