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 Cuba and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Manchester and Bremen.
I'm losing my edge to the art-school Johannesburg 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 linndrum 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 Procol Harum to the rock kids.
I played it at the Astoria.
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 Minnie Riperton. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every Heaven 17 record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks 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?
June of 44,
Accadde A,
Ice-T,
The Litter,
The Blues Magoos,
R.M.O.,
Neu!,
Cheater Slicks,
Q and Not U,
Vaughan Mason & Crew,
Gichy Dan,
Suicide,
Lyres,
Cymande,
The Wake,
Glambeats Corp.,
Rufus Thomas,
Brothers Johnson,
Dawn Penn,
Black Moon,
Fifty Foot Hose,
Fear,
Moebius,
Ultramagnetic MC's,
Blossom Toes,
The Black Dice,
The Saints,
Sister Nancy,
Bobby Sherman,
Thompson Twins,
Sarah Menescal,
Cluster,
Matthew Bourne,
Trumans Water,
Soft Cell,
Section 25,
Barclay James Harvest,
T.S.O.L.,
The Tremeloes,
Subhumans,
The Walker Brothers,
A Certain Ratio,
Idris Muhammad,
Deepchord,
Arcadia,
UT,
The Five Americans,
Visage,
Rhythm & Sound,
Urselle,
Radio Birdman,
David Bowie,
Barry Ungar,
Ajijia Myrayebe,
Parry Music,
Ash Ra Tempel,
Crash Course in Science,
Arthur Verocai,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.