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 Maldives and from Jakarta.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Halifax and Portland.
I'm losing my edge to the art-school Seoul 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart 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 Joey Negro to the jazz 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 Chris Corsano. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Magma 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Quando Quango,
CMW,
Eric Dolphy,
Public Enemy,
K-Klass,
David Axelrod,
Rekid,
Joe Smooth,
Sunsets and Hearts,
Yellowson,
Nico,
Lakeside,
Main Source,
Judy Mowatt,
48th St. Collective,
Sly & The Family Stone,
David Bowie,
Metal Thangz,
Ultimate Spinach,
Half Japanese,
Wire,
Kauko Röyhkä ja Narttu,
Eli Mardock,
Con Funk Shun,
Can,
Blancmange,
The Blackbyrds,
Country Joe & The Fish,
Alton Ellis,
Pantytec,
The Techniques,
Eurythmics,
Flash Fearless,
Bang on a Can All-Stars,
The Dead C,
Sparks,
Minny Pops,
Sixth Finger,
The Kinks,
Aural Exciters,
Cymande,
The Monochrome Set,
Interpol,
Marc Romboy vs. Booka Shade,
Aswad,
Sight & Sound,
Inner City,
Freddie Wadling,
Eric Copeland,
the Normal,
Heavy D & The Boyz,
Flipper,
Franke,
Loose Ends,
Nik Kershaw,
Crime,
Andrew Hill,
Crash Course in Science,
Rod Modell,
James White and The Blacks,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.