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 Egypt and from Paris.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1978.
I'm losing my edge.
To all the kids in Seoul and Bremen.
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 The Gories to the jazz kids.
I played it at the Spitz.
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 Tom Boy. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every The Remains record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Rakim,
Icehouse,
Girls At Our Best!,
Harry Pussy,
Gerry Rafferty,
Gang Starr,
Kings Of Tomorrow,
The Mummies,
The Flesh Eaters,
Accadde A,
Ponytail,
The Moody Blues,
Connie Case,
Laurel Aitken,
Sun Ra Arkestra,
Terry Callier,
Gabor Szabo,
Peter Gordon & Love of Life Orchestra,
Todd Terry,
Metal Thangz,
Kerri Chandler,
Technova,
Roy Ayers,
Silicon Teens,
Liliput,
Monks,
The Evens,
Yazoo,
The Move,
Schoolly D,
Camron Feat. Memphis Bleek And Beenie Seigel,
Das Ding,
Soft Machine,
Jacques Brel,
Nick Cave & The Bad Seeds,
Frankie Knuckles,
The Litter,
John Lydon,
Youth Brigade,
Lower 48,
Khruangbin,
Terror Squad Feat. Camron,
Warsaw,
Animal Collective,
Richard Hell and the Voidoids,
The Durutti Column,
The Pretty Things,
Bobby Byrd,
Oneida,
Amon Düül,
Pussy Galore,
Manfred Mann's Earth Band,
The Tremeloes,
London Community Gospel Choir,
Mandrill,
Derrick Morgan,
Tom Boy,
Bootsy's Rubber Band,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.