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 Trinidad & Tobago and from Lagos.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Delhi and Taipei.
I'm losing my edge to the art-school Johannesburg 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Index to the grime 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 The Monochrome Set. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every Mark Hollis 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Joe Smooth,
Monks,
Country Joe & The Fish,
Scientists,
Brothers Johnson,
Kings Of Tomorrow,
Wire,
Young Marble Giants,
B.T. Express,
Eyeless In Gaza,
Ralphi Rosario,
The Misunderstood,
Cymande,
Skriet,
Colin Newman,
K-Klass,
Ultra Naté,
Kevin Saunderson,
Rhythm & Sound,
T. Rex,
Bobby Byrd,
Metal Thangz,
Erasure,
Curtis Mayfield,
Soft Machine,
Notorious Big And Bone Thugs,
Excepter,
KRS-One,
Dave Gahan,
Unrelated Segments,
The Fall,
The Knickerbockers,
Arthur Verocai,
cv313,
Whodini,
the Soft Cell,
Junior Murvin,
Ohio Players,
La Düsseldorf,
Visage,
Minor Threat,
Barbara Tucker,
Angry Samoans,
Richard Hell and the Voidoids,
Ituana,
Altered Images,
the Swans,
Gil Scott Heron,
The Music Machine,
Jesper Dahlback,
David Axelrod,
The Evens,
The Fire Engines,
Second Layer,
Terrestrial Tones,
Ash Ra Tempel,
John Foxx,
Faraquet,
Intrusion, Intrusion, Intrusion, Intrusion.
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.