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 Mauritania and from Columbus.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Sao Paulo 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 snare 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 Matthew Bourne to the rock kids.
I played it at the Roxy.
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 Nik Kershaw. All the underground hits.
All Smog tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cheater Slicks,
Clear Light,
Harmonia,
Second Layer,
Danielle Patucci,
Tom Boy,
Rufus Thomas,
Glambeats Corp.,
Rowland S Howard / Lydia Lunch,
DeepChord presents Echospace,
Popol Vuh,
Drexciya,
Aswad,
Sonny Sharrock,
The Misunderstood,
Moby Grape,
James Chance & The Contortions,
John Foxx,
Sandy B,
The Zeros,
Trumans Water,
KRS-One,
Banda Bassotti,
Howard Jones,
In Retrospect,
The Barracudas,
David Axelrod,
ABBA,
Electric Light Orchestra,
Nation of Ulysses,
Alphaville,
Fluxion,
Eli Mardock,
The Music Machine,
The Victims,
Index,
Marc Romboy vs. Booka Shade,
Average White Band,
The Alarm Clocks,
The Offenders,
K-Klass,
Grandmaster Flash and the Furious Five,
Delta 5,
Strawberry Alarm Clock,
Soul Sonic Force,
Alice Coltrane,
Pet Shop Boys,
Rapeman,
D'Angelo,
Rhythm & Sound,
Cameo,
Archie Shepp,
Robert Görl,
Susan Cadogan,
Pharoah Sanders,
Echospace,
Suburban Knight,
Lightning Bolt,
PIL,
Matthew Bourne,
The Move,
LL Cool J,
Larry & the Blue Notes,
The Smiths, The Smiths, The Smiths, The Smiths.
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.