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 Serbia and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 Manchester and Tehran.
I'm losing my edge to the art-school Jakarta 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the synthesizer 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 The Mummies to the techno kids.
I played it at the Astoria.
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 Crash Course in Science. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Cameo 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
Adolescents,
Arcadia,
The Fugs,
OOIOO,
Dave Gahan,
Robert Görl,
Bobbi Humphrey,
Kings Of Tomorrow,
Magma,
Pantytec,
Deepchord,
Joe Smooth,
Aural Exciters,
Saccharine Trust,
Lightning Bolt,
Aaron Thompson,
Skriet,
The Gap Band,
Nik Kershaw,
DeepChord presents Echospace,
Bauhaus,
Guru Guru,
Skaos,
The Men They Couldn't Hang,
Danielle Patucci,
Nick Fraelich,
Porter Ricks,
the Sonics,
Arab on Radar,
Yellowson,
X-Ray Spex,
Japan,
Grandmaster Flash,
Pete Rock & C.L. Smooth,
Bobby Womack,
Marshall Jefferson,
Ultravox,
The Alarm Clocks,
The Fire Engines,
Jeru the Damaja,
In Retrospect,
Charles Mingus,
Morten Harket,
Aswad,
Big Daddy Kane,
Flipper,
Zapp,
The Victims,
The Offenders,
The Wake,
Excepter,
Vainqueur,
The Black Dice,
Supertramp,
Minor Threat,
Jerry Gold Smith,
Grey Daturas,
Marmalade,
June of 44,
K-Klass,
Sarah Menescal,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.