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 Kiribati and from Accra.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Portland.
I'm losing my edge to the art-school Bremen 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 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 Robert Hood to the electroclash kids.
I played it at CBGB's.
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 Monolake. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every Marc Romboy vs. Booka Shade 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
Lafayette Afro Rock Band,
Mary Jane Girls,
Scientists,
Alison Limerick,
Negative Approach,
Desert Stars,
The Detroit Cobras,
the Germs,
Oppenheimer Analysis,
Sonny Sharrock,
Kings Of Tomorrow,
Chris & Cosey,
Half Japanese,
Kool G Rap & DJ Polo,
The Cramps,
Rekid,
Kayak,
Thompson Twins,
Unrelated Segments,
the Association,
48th St. Collective,
Junior Murvin,
Second Layer,
Marc Almond,
Boogie Down Productions,
Lou Reed,
The Wake,
Visage,
Louis and Bebe Barron,
Cal Tjader,
Silicon Teens,
Bootsy Collins,
Gil Scott-Heron and Jamie xx,
Major Organ And The Adding Machine,
Sticky Fingaz feat. Raekwon,
Fear,
Kauko Röyhkä ja Narttu,
Das Ding,
Art Ensemble Of Chicago,
Neil Young & Crazy Horse,
X-102,
MC5,
Selector Dub Narcotic,
8 Eyed Spy,
Ornette Coleman,
The Angels of Light,
Cluster,
Youth Brigade,
Nils Olav,
Al Stewart,
The Golliwogs,
Barbara Tucker,
This Heat,
Sun Ra,
Lee Hazlewood,
Hardrive,
Jeff Mills,
Roy Ayers Ubiquity,
Scott Walker,
Gerry Rafferty,
Joyce Sims,
Chrome, Chrome, Chrome, Chrome.
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.