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 Norway and from Manchester.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Manchester.
I'm losing my edge to the art-school Woodstock 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 Lewis practice in a loft in Vancouver.
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 Piero Umiliani to the punk kids.
I played it at the 40 Watt.
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 DNA. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Severed Heads 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 arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
The Red Krayola,
Blake Baxter,
New York Dolls,
Kool G Rap & DJ Polo,
The Last Poets,
Heavy D & The Boyz,
Tres Demented,
Babytalk,
Suburban Knight,
The Detroit Cobras,
Jeff Lynne,
Black Pus,
Mark Hollis,
D'Angelo,
Godley & Creme,
Nas,
Brick,
Smog,
Crash Course in Science,
The Angels of Light,
Cluster,
Sun Ra,
Jawbox,
Bob Dylan,
Jerry's Kids,
The Vogues,
The Evens,
Manfred Mann's Earth Band,
Roger Hodgson,
Black Flag,
Soul Sonic Force,
The Victims,
Terry Callier,
Youth Brigade,
Grauzone,
Pharoah Sanders,
Kango’s Stein Massive,
The Zeros,
Basic Channel,
Bobbi Humphrey,
Visage,
FM Einheit,
Lou Reed & John Cale,
Sällskapet,
Eric Dolphy,
Gil Scott-Heron and Jamie xx,
Graham Central Station,
Skarface,
Cameo,
DNA,
Lungfish,
Index,
David Axelrod,
The Toasters,
Spandau Ballet,
Bizarre Inc.,
Soulsonic Force,
The Mummies,
Parry Music,
The Mighty Diamonds,
Skriet, Skriet, Skriet, Skriet.
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.