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 Angola and from Milan.
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 Woodstock and Salvador.
I'm losing my edge to the art-school Philadelphia 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 1976 at the first Wire practice in a loft in Watford.
I was working on the mellotron 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 The Leaves to the grunge 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 Can. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark 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 '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Todd Terry record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
Thee Headcoats,
Slave,
Jesper Dahlback,
Desert Stars,
John Cale,
Super Lover Cee & Casanova Rud,
Unrelated Segments,
Fatback Band,
Agent Orange,
It's A Beautiful Day,
Mission of Burma,
Nik Kershaw,
Masters at Work,
Unwound,
Gil Scott Heron,
the Sonics,
The Buckinghams,
LL Cool J,
The Men They Couldn't Hang,
Avey Tare & Kría Brekkan,
Mark Hollis,
Ornette Coleman,
Flash Fearless,
Colin Newman,
AZ,
Harpers Bizarre,
Peter Gordon & Love of Life Orchestra,
June of 44,
Marmalade,
Shoche,
Parry Music,
KRS-One,
DNA,
Eric Copeland,
Amon Düül,
DeepChord presents Echospace,
Jawbox,
The Moody Blues,
Niagra,
Fifty Foot Hose,
Gian Franco Pienzio,
Eric Dolphy,
The Blues Magoos,
Cluster,
Bootsy's Rubber Band,
Zapp,
a-ha,
Fat Boys,
Peter and Kerry,
Gary Puckett & The Union Gap,
Au Pairs,
B.T. Express,
Moby Grape,
Boogie Down Productions,
The Grass Roots,
the Association,
Deadbeat,
The Durutti Column,
Faraquet,
Half Japanese,
Ludus,
Minnie Riperton,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.