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 Japan and from London.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Salvador and Sao Paulo.
I'm losing my edge to the art-school Spokane 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Freddie Wadling to the techno 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 Stereo Dub. All the underground hits.
All The Raincoats tracks. I heard you have a vinyl of every Cabaret Voltaire 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
The Royal Family And The Poor,
Marcia Griffiths,
Little Man,
The Fortunes,
The Victims,
Cal Tjader,
the Fania All-Stars,
Monks,
ABBA,
Saccharine Trust,
Eden Ahbez,
Richard Hell and the Voidoids,
Radio Birdman,
Slave,
Piero Umiliani,
Bob Dylan,
Be Bop Deluxe,
Au Pairs,
Red Lorry Yellow Lorry,
Bronski Beat,
The Count Five,
The Mummies,
Rod Modell,
10cc,
Camron Feat. Jay Z And Juelz,
Sight & Sound,
Louis and Bebe Barron,
Derrick May,
Brass Construction,
Thinking Fellers Union Local 282,
The Modern Lovers,
Kool Moe Dee,
The Associates,
Soul II Soul,
Tears for Fears,
The Chocolate Watch Band,
Amon Düül,
Youth Brigade,
Aswad,
Gong,
Bobbi Humphrey,
Echospace,
Donny Hathaway,
Roger Hodgson,
Crime,
Deepchord,
Lalo Schifrin,
the Soft Cell,
The New Christs,
The Pop Group,
Fugazi,
Teenage Jesus and the Jerks,
Ultramagnetic MC's,
Outsiders,
Dual Sessions,
Con Funk Shun,
Cluster,
Pylon,
Barry Ungar,
Kurtis Blow,
The Durutti Column,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.