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 Antigua and from Shanghai.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1962 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Glasgow.
I'm losing my edge to the art-school Edmonton 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 snare 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 Public Enemy to the jazz kids.
I played it at the Spitz.
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 Jawbox. All the underground hits.
All Rhythim Is Rhythim tracks. I heard you have a vinyl of every Soft Cell 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 '60s cut and another box set from the '90s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Manfred Mann's Earth Band,
Adolescents,
Model 500,
Barry Ungar,
London Community Gospel Choir,
The Shadows of Knight,
Bang On A Can,
Barbara Tucker,
R.M.O.,
Index,
Faraquet,
K-Klass,
Blancmange,
Minor Threat,
The Martian,
The West Coast Pop Art Experimental Band,
Alice Coltrane,
Boogie Down Productions,
Sällskapet,
Sun Ra Arkestra,
The Smiths,
Bobbi Humphrey,
Pet Shop Boys,
The Electric Prunes,
Amon Düül II,
The Cosmic Jokers,
Public Enemy,
Kaleidoscope,
Pete Rock & C.L. Smooth,
Hoover,
Prince Buster,
Robert Görl,
Siglo XX,
Ronan,
Grey Daturas,
Television Personalities,
The Saints,
China Crisis,
Lafayette Afro Rock Band,
The Fuzztones,
Fela Kuti,
Fluxion,
Captain Beefheart & His Magic Band,
Boredoms,
Byron Stingily,
Rakim,
Wolf Eyes,
Eric Copeland,
Thompson Twins,
Sight & Sound,
Public Image Ltd.,
Lower 48,
The American Breed,
Little Man,
Jesper Dahlbäck,
Angels of Light & Akron/Family,
Severed Heads,
Interpol,
Kayak,
The Tremeloes,
Monks,
The Moody Blues,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.