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 Kuwait and from Johannesburg.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Salvador and Lille.
I'm losing my edge to the art-school Accra 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 1976 at the first Wire practice in a loft in Watford.
I was working on the arpeggiator 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 The Doobie Brothers to the rock kids.
I played it at the Troubador.
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 Rakim. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Sister Nancy record on German import.
I heard that you have a white label of every seminal punk 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 marimba and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Eden Ahbez,
Depeche Mode,
Basic Channel,
Angry Samoans,
Sugar Minott,
Grauzone,
Chris Corsano,
Simply Red,
Hot Snakes,
The Walker Brothers,
Banda Bassotti,
Rotary Connection,
Connie Case,
Fluxion,
The Birthday Party,
Swans,
Spoonie Gee,
R.M.O.,
Intrusion,
Todd Rundgren,
Whodini,
Mary Jane Girls,
Ten City,
Barry Ungar,
The Slackers,
Beasts of Bourbon,
Funky Four + One,
Sight & Sound,
Marcia Griffiths,
The Remains,
The Toasters,
Terry Callier,
Malaria!,
OOIOO,
Janne Schatter,
The Associates,
Stockholm Monsters,
Nation of Ulysses,
Deepchord,
Soulsonic Force,
Rosa Yemen,
Youth Brigade,
Slick Rick,
The Misunderstood,
Sun Ra,
Circle Jerks,
Inner City,
The Offenders,
Guru Guru,
Rekid,
John Holt,
Scientists,
Crash Course in Science,
Agitation Free,
Major Organ And The Adding Machine,
Yaz,
The Last Poets,
Masters at Work,
The Velvet Underground,
Magma,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.