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 Estonia and from Manila.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Portland and Hong Kong.
I'm losing my edge to the art-school Winnipeg 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 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 Slick Rick to the electroclash 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 Eddi Front. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal techno 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 theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Theoretical Girls,
Flipper,
Ajijia Myrayebe,
Louis and Bebe Barron,
Lungfish,
The West Coast Pop Art Experimental Band,
Alton Ellis,
X-101,
The Remains,
Angry Samoans,
Siouxsie and the Banshees,
Selector Dub Narcotic,
Maleditus Sound,
Red Lorry Yellow Lorry,
Rakim,
Terry Callier,
Ossler,
Sällskapet,
Marvin Gaye,
Minnie Riperton,
Supertramp,
The Residents,
Kings Of Tomorrow,
The Count Five,
Boredoms,
EPMD,
Simply Red,
a-ha,
Neil Young,
Gang Gang Dance,
Jerry's Kids,
Sonny Sharrock,
Vladislav Delay,
Pere Ubu,
The Buckinghams,
Funky Four + One,
The Move,
Quantec,
Fifty Foot Hose,
Visionaries,LMNO, T- Love & Iriscience,
Slave,
Frankie Knuckles,
World's Most,
PIL,
Faraquet,
Jandek,
Eric Copeland,
Massinfluence,
John Cale,
Marshall Jefferson,
Bang on a Can All-Stars,
Davy DMX,
Mandrill,
Ohio Players,
X-Ray Spex,
The Pretty Things,
Juan Atkins,
Pylon,
Kauko Röyhkä ja Narttu,
Big Daddy Kane,
Ponytail,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.