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 United Kingdom and from Bologna.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Philadelphia.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 Pole to the grime kids.
I played it at Cafe Wha.
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 Gories. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every Banda Bassotti record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Can,
Albert Ayler,
Black Flag,
Television Personalities,
Barclay James Harvest,
Wings,
Stereo Dub,
Moss Icon,
Ituana,
Funky Four + One,
Brand Nubian,
Echospace,
Siglo XX,
U.S. Maple,
Accadde A,
The Music Machine,
Grandmaster Flash and the Furious Five,
DNA,
Agent Orange,
Gong,
Schoolly D,
Subhumans,
Bang On A Can,
Mission of Burma,
Bobby Byrd,
Barrington Levy,
Spandau Ballet,
Sällskapet,
Magma,
Connie Case,
Television,
The Flesh Eaters,
John Holt,
Robert Görl,
Hot Snakes,
The Human League,
Swans,
James White and The Blacks,
A Certain Ratio,
Lizzy Mercier Descloux,
Hasil Adkins,
Mars,
Gang Green,
The Moleskins,
Beasts of Bourbon,
Dark Day,
Flash Fearless,
Nas,
Gregory Isaacs,
Trumans Water,
The American Breed,
Hashim,
Lou Reed & Metallica,
The Velvet Underground,
Sunsets and Hearts,
Andrew Hill,
EPMD,
Jacob Miller,
Quantec,
Bootsy's Rubber Band,
Jawbox,
Agitation Free,
The Jesus and Mary Chain,
Japan, Japan, Japan, Japan.
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.