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 Cape Verde and from Copenhagen.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Milan.
I'm losing my edge to the art-school Taipei 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 clarinet sounds with much patience.
I was there when Robert Palmer 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 Maleditus Sound to the disco kids.
I played it at the Roxy.
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 Marmalade. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Sight & Sound 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bobbi Humphrey record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
Swell Maps,
Masters at Work,
Todd Rundgren,
Teenage Jesus and the Jerks,
The Smiths,
Babytalk,
Main Source,
Alton Ellis,
The Offenders,
Michelle Simonal,
Reuben Wilson,
Popol Vuh,
Pharoah Sanders,
Ash Ra Tempel,
Glambeats Corp.,
Electric Light Orchestra,
The Fuzztones,
The Saints,
Moby Grape,
Jesper Dahlback,
Harpers Bizarre,
The Gladiators,
David McCallum,
The Slackers,
Peter and Kerry,
A Flock of Seagulls,
Lungfish,
Jawbox,
Mary Jane Girls,
The United States of America,
ABBA,
The Skatalites,
Theoretical Girls,
Joe Smooth,
Scan 7,
Flamin' Groovies,
Throbbing Gristle,
Jerry's Kids,
Gregory Isaacs,
The Modern Lovers,
The Slits,
Maurizio,
DJ Style,
Fifty Foot Hose,
Joy Division,
The Happenings,
Procol Harum,
Kango’s Stein Massive,
The Motions,
Todd Terry,
Reagan Youth,
Wolf Eyes,
Ossler,
The Mummies,
China Crisis,
The Smoke,
Heaven 17,
Inner City,
Pulsallama,
Oblivians,
Outsiders,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.