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 Burundi and from Taipei.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Edmonton.
I'm losing my edge to the art-school Bologna 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 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 Smog to the punk kids.
I played it at CBGB's.
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 Coltrane. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every The Grass Roots record on German import.
I heard that you have a white label of every seminal rap 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 an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Oblivians,
CMW,
Steve Hackett,
Harpers Bizarre,
Sonic Youth,
Brass Construction,
Throbbing Gristle,
Drexciya,
The Saints,
The Techniques,
Grauzone,
Marc Romboy vs. Booka Shade,
Reagan Youth,
Kurtis Blow,
Ohio Players,
The Fuzztones,
Andrew Hill,
The Searchers,
Saccharine Trust,
Kauko Röyhkä ja Narttu,
Arthur Verocai,
The Five Americans,
The Litter,
Kool Moe Dee,
Don Cherry,
Junior Murvin,
Larry & the Blue Notes,
R.M.O.,
Ponytail,
The Moleskins,
Alison Limerick,
Rites of Spring,
Dawn Penn,
Dual Sessions,
Royal Trux,
The Gun Club,
Andrew Ashong & Theo Parrish,
Chris & Cosey,
Joey Negro,
Nik Kershaw,
Fifty Foot Hose,
Joe Finger,
Yaz,
The Skatalites,
Gang of Four,
Ituana,
The Slackers,
Suburban Knight,
Ultramagnetic MC's,
Flamin' Groovies,
Al Stewart,
Metal Thangz,
Bad Manners,
Q65,
Bang On A Can,
Lungfish,
Freddie Wadling,
Traffic Nightmare,
The American Breed,
Major Organ And The Adding Machine,
Electric Light Orchestra,
Television Personalities,
Clear Light, Clear Light, Clear Light, Clear Light.
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.