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 Cameroon and from Mexico City.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Salvador.
I'm losing my edge to the art-school Lille 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 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 Boz Scaggs to the punk 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 Sister Nancy. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Beau Brummels,
Tim Buckley,
Joy Division,
The Wake,
Motorama,
Au Pairs,
E-Dancer,
Matthew Halsall,
The Music Machine,
Fatback Band,
Erykah Badu,
Eden Ahbez,
Mandrill,
Godley & Creme,
Siouxsie and the Banshees,
Clear Light,
Unwound,
Anakelly,
Skaos,
Alison Limerick,
Rhythim Is Rhythim,
Sexual Harrassment,
The Martian,
The Names,
Japan,
Pole,
Blancmange,
Easy Going,
Brothers Johnson,
Bobby Byrd,
The Fuzztones,
Minnie Riperton,
Popol Vuh,
Faust,
Robert Görl,
Q65,
Whodini,
Ultra Naté,
Barrington Levy,
Rowland S Howard / Lydia Lunch,
Kaleidoscope,
The Zeros,
Richard Hell and the Voidoids,
Justin Hinds & The Dominoes,
Bobby Hutcherson,
48th St. Collective,
X-Ray Spex,
Sonic Youth,
Smog,
Glambeats Corp.,
World's Most,
Grandmaster Flash and the Furious Five,
Bang On A Can,
D'Angelo,
Ornette Coleman,
Thee Headcoats,
Barclay James Harvest,
ABC,
Chris & Cosey,
Rites of Spring,
Freddie Wadling,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.