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 Sri Lanka and from Salvador.
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 Glasgow and Cairo.
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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb 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 Major Organ And The Adding Machine to the rock kids.
I played it at the Astoria.
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 Dark Day. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every The Trojans record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
Sister Nancy,
Soulsonic Force,
Byron Stingily,
Black Sheep,
Yazoo,
Animal Collective,
Lizzy Mercier Descloux,
Bang on a Can All-Stars,
Lou Reed & Metallica,
Au Pairs,
The Index,
Sight & Sound,
Duran Duran,
Arthur Verocai,
Little Man,
The Black Dice,
Davy DMX,
Harpers Bizarre,
Radiopuhelimet,
Moss Icon,
The Star Department,
Lalann,
Suicide,
The Motions,
It's A Beautiful Day,
The Dave Clark Five,
Crispian St. Peters,
Moebius,
Justin Hinds & The Dominoes,
Robert Görl,
New Age Steppers,
The New Christs,
Deadbeat,
Scion,
Deepchord,
The American Breed,
The Misunderstood,
Amon Düül II,
Darondo,
Theoretical Girls,
The Fugs,
Quadrant,
Kurtis Blow,
Can,
Tom Boy,
Public Image Ltd.,
Ice-T,
The Fortunes,
KRS-One,
Siglo XX,
Altered Images,
the Normal,
Warren Ellis,
Excepter,
The Pop Group,
Yellowson,
Jandek,
DJ Sneak,
Zapp,
Model 500,
Spoonie Gee,
Half Japanese,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.