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 Nicaragua and from Tokyo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1979.
I'm losing my edge.
To all the kids in Manila and Tehran.
I'm losing my edge to the art-school Woodstock 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 sitar sounds with much patience.
I was there when David Bowie 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 X-101 to the grunge kids.
I played it at the Crocodile.
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 Rahsaan Roland Kirk. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Bobby Sherman 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Derrick Morgan,
Terrestrial Tones,
Cabaret Voltaire,
Harpers Bizarre,
The Mojo Men,
Lee Hazlewood,
Lungfish,
Ice-T,
Minny Pops,
Max Romeo,
Fifty Foot Hose,
Magazine,
Gabor Szabo,
Pere Ubu,
Jandek,
Gang of Four,
Lonnie Liston Smith,
The Gun Club,
Subhumans,
The Slackers,
Black Flag,
James White and The Blacks,
Red Lorry Yellow Lorry,
Justin Hinds & The Dominoes,
Brick,
The Misunderstood,
Ronnie Foster,
Groovy Waters,
Ten City,
A Certain Ratio,
Banda Bassotti,
Marmalade,
Porter Ricks,
Sad Lovers and Giants,
Eve St. Jones,
FM Einheit,
Funky Four + One,
John Foxx,
Bang On A Can,
Soft Cell,
Marvin Gaye,
The Moleskins,
the Human League,
Bluetip,
Popol Vuh,
Model 500,
Andrew Ashong & Theo Parrish,
Dead Boys,
Rowland S Howard / Lydia Lunch,
The Velvet Underground,
Radiohead,
Q and Not U,
Selector Dub Narcotic,
Wire,
The Real Kids,
Notorious BIG live in Amsterdam,
Colin Newman,
Gang Gang Dance,
Radiopuhelimet,
Sonic Youth,
The Names,
Tropical Tobacco,
The Smoke, The Smoke, The Smoke, The Smoke.
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.