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 Serbia and from Taipei.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Paris and Bremen.
I'm losing my edge to the art-school Mumbai 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the synthesizer 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 Henry Cow to the funk 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 Bobby Sherman. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Ronnie Foster record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
Kerri Chandler,
Television Personalities,
Lonnie Liston Smith,
Big Daddy Kane,
Gabor Szabo,
Juan Atkins,
Wolf Eyes,
John Holt,
The Human League,
Chrome,
Agitation Free,
Ponytail,
Mr. Review,
Sällskapet,
Boredoms,
kango's stein massive,
Popol Vuh,
Andrew Hill,
The Gun Club,
Pole,
Harpers Bizarre,
Sister Nancy,
Jacques Brel,
Kango’s Stein Massive,
Bobby Womack,
Lower 48,
The Wake,
KRS-One,
Robert Görl,
Harry Pussy,
Pantaleimon,
Oneida,
Sugar Minott,
Alice Coltrane,
Chris & Cosey,
Malaria!,
Niagra,
Kings Of Tomorrow,
June of 44,
Joy Division,
The Dirtbombs,
Bad Manners,
The Associates,
The Dead C,
Nils Olav,
Section 25,
Ultimate Spinach,
Bootsy Collins,
Yazoo,
Whodini,
Fugazi,
Electric Light Orchestra,
Tropical Tobacco,
A Certain Ratio,
Unwound,
Jimmy McGriff,
Public Image Ltd.,
Notorious BIG live in Amsterdam,
Motorama,
Hot Snakes,
Girls At Our Best!,
Funkadelic,
Saccharine Trust,
Delon & Dalcan, Delon & Dalcan, Delon & Dalcan, Delon & Dalcan.
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.