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 Madagascar and from Tokyo.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Taipei and Sao Paulo.
I'm losing my edge to the art-school Glasgow 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 synthesizer 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 The Evens to the grunge 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 Joensuu 1685. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Lightning Bolt record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Todd Terry record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
The Fire Engines,
Essential Logic,
8 Eyed Spy,
JFA,
Jeff Lynne,
The Saints,
Scratch Acid,
The Zeros,
Eric Copeland,
Bizarre Inc.,
cv313,
Minny Pops,
Byron Stingily,
Ossler,
Rakim,
Metal Thangz,
The Vogues,
The United States of America,
Rhythim Is Rhythim,
Sällskapet,
Cabaret Voltaire,
Siouxsie and the Banshees,
Shuggie Otis,
Junior Murvin,
Bobby Womack,
Tomorrow,
Thinking Fellers Union Local 282,
Boredoms,
Man Eating Sloth,
Rotary Connection,
The Real Kids,
The Barracudas,
The Remains,
Marshall Jefferson,
Masters at Work,
The Human League,
Howard Jones,
Ash Ra Tempel,
Stiv Bators,
Bad Manners,
Thompson Twins,
Niagra,
The Standells,
Brothers Johnson,
Vaughan Mason & Crew,
Joe Finger,
Aaron Thompson,
The Dave Clark Five,
Röyhkä ja Rättö ja Lehtisalo,
The Blackbyrds,
Letta Mbulu,
The Sonics,
Rhythm & Sound,
Nils Olav,
Amazonics,
The Jesus and Mary Chain,
Pere Ubu,
David Axelrod,
Dorothy Ashby,
Intrusion,
Stetsasonic,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.