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 St Lucia and from Sao Paulo.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Manchester and Halifax.
I'm losing my edge to the art-school Halifax 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the synthesizer 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 Man Eating Sloth to the funk 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 the Normal. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Lungfish record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a MC5 record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
The Red Krayola,
Matthew Halsall,
Siouxsie and the Banshees,
Crooked Eye,
Crime,
the Slits,
Sparks,
DJ Sneak,
Connie Case,
Can,
The Slits,
Laurel Aitken,
Funky Four + One,
Subhumans,
Black Sheep,
Peter & Gordon,
Larry & the Blue Notes,
John Foxx,
Black Flag,
The Victims,
Lakeside,
The Cosmic Jokers,
Bob Dylan,
Hasil Adkins,
Althea and Donna,
New Age Steppers,
Simply Red,
Girls At Our Best!,
Swans,
the Fania All-Stars,
Terry Callier,
Sugar Minott,
The Busters,
Alphaville,
Lizzy Mercier Descloux,
The Barracudas,
The Slackers,
Ultimate Spinach,
Vladislav Delay,
Yellowson,
London Community Gospel Choir,
Popol Vuh,
Sun Ra,
Section 25,
Arthur Verocai,
Quando Quango,
Das Ding,
The Moody Blues,
MC5,
Y Pants,
Jawbox,
Dennis Brown,
Todd Terry,
The Doobie Brothers,
Marvin Gaye,
Godley & Creme,
Howard Jones,
X-102,
Schoolly D,
Eve St. Jones,
Maurizio,
Bluetip,
Fluxion,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.