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 Malawi and from Tokyo.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Delhi and Lyon.
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 1983 at the first Art of Noise 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 Heavy D & The Boyz to the electroclash kids.
I played it at the Troubador.
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 Magazine. All the underground hits.
All The Sonics tracks. I heard you have a vinyl of every Peter and Kerry 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
The Barracudas,
Ornette Coleman,
Skaos,
The Smoke,
Matthew Halsall,
Severed Heads,
The Kinks,
Cameo,
Tomorrow,
Kas Product,
Scott Walker + Sunn O))),
Swans,
The Associates,
The Golliwogs,
The Last Poets,
Icehouse,
Pharoah Sanders,
Second Layer,
the Fania All-Stars,
Reuben Wilson,
Godley & Creme,
Black Pus,
X-101,
Girls At Our Best!,
John Cale,
Talk Talk,
The Victims,
Cecil Taylor,
Gong,
Vainqueur,
Flipper,
Audionom,
Gabor Szabo,
KRS-One,
Electric Light Orchestra,
Ultimate Spinach,
Visionaries,LMNO, T- Love & Iriscience,
Peter Gordon & Love of Life Orchestra,
The Selecter,
Yaz,
Lizzy Mercier Descloux,
Glambeats Corp.,
Drexciya,
The Smiths,
Rekid,
Rotary Connection,
Delta 5,
L. Decosne,
Intrusion,
Lou Reed,
the Swans,
Television,
The Red Krayola,
Roy Ayers Ubiquity,
10cc,
Reagan Youth,
Gil Scott-Heron and Jamie xx,
Jeff Lynne,
Janne Schatter,
Archie Shepp,
Sun City Girls,
The Evens,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.