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 Rwanda and from Seoul.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Columbus and Calgary.
I'm losing my edge to the art-school Mumbai 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Moleskins to the dance kids.
I played it at the Crocodile.
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 John Cale. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Cecil Taylor 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 '80s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Soul Sonic Force record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Be Bop Deluxe,
Eve St. Jones,
The Blues Magoos,
The Remains,
The Grass Roots,
The Red Krayola,
Procol Harum,
The Standells,
Jerry Gold Smith,
Wings,
Orchestral Manoeuvres in the Dark,
Althea and Donna,
Teenage Jesus and the Jerks,
Cal Tjader,
Suburban Knight,
Nik Kershaw,
Soft Machine,
Sad Lovers and Giants,
Kool G Rap & DJ Polo,
Zapp,
Quantec,
Ken Boothe,
Cybotron,
Bronski Beat,
Colin Newman,
Minny Pops,
Super Lover Cee & Casanova Rud,
Jeru the Damaja,
Bob Dylan,
Roxy Music,
Dr. Dre and Snoop Doggy Dog,
John Holt,
D'Angelo,
Lonnie Liston Smith,
Y Pants,
Aural Exciters,
The Fugs,
LL Cool J,
The Martian,
Mission of Burma,
the Human League,
Pete Rock & C.L. Smooth,
Section 25,
Schoolly D,
The Alarm Clocks,
ABC,
Nirvana,
Jacob Miller,
The Fall,
The Human League,
Altered Images,
Roy Ayers,
Lucky Dragons,
Tomorrow,
Robert Görl,
Agent Orange,
Tommy Roe,
Bizarre Inc.,
Ultra Naté,
Dual Sessions,
De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers.
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.