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 Albania and from Columbus.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Salvador and Lille.
I'm losing my edge to the art-school Woodstock 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 guitar sounds with much patience.
I was there when David Bowie 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 Pop Group to the funk 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 UT. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Little Man record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Dark Day,
Public Enemy,
The Smiths,
Minny Pops,
Camouflage,
The Standells,
Organ,
Essential Logic,
Spandau Ballet,
Mandrill,
L. Decosne,
The Gories,
Lalann,
DNA,
Zero Boys,
Country Joe & The Fish,
Gregory Isaacs,
Wasted Youth,
The Birthday Party,
Selector Dub Narcotic,
Von Mondo,
The Monks,
Stiv Bators,
Parry Music,
Ultimate Spinach,
Dead Boys,
The Beau Brummels,
Pere Ubu,
The Techniques,
Deepchord,
Johnny Clarke,
The Detroit Cobras,
Andrew Ashong & Theo Parrish,
Cabaret Voltaire,
Lightning Bolt,
Spoonie Gee,
These Immortal Souls,
Newcleus,
DJ Style,
The Gap Band,
Major Organ And The Adding Machine,
Monolake,
Lungfish,
Godley & Creme,
De La Soul & Jungle Brothers,
Grandmaster Flash,
Funkadelic,
the Bar-Kays,
James White and The Blacks,
Television Personalities,
the Association,
Blancmange,
Marvin Gaye,
La Düsseldorf,
Eric B and Rakim,
This Heat,
Soft Machine,
The Real Kids,
Kas Product,
Subhumans,
Dual Sessions,
The Raincoats,
Toni Rubio,
Bill Near, Bill Near, Bill Near, Bill Near.
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.