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 Haiti and from Madrid.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Portland and Manchester.
I'm losing my edge to the art-school Taipei 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 rhodes sounds with much patience.
I was there when Donald Fagen 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 Pet Shop Boys to the funk 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 Tears for Fears. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every Marvin Gaye record on German import.
I heard that you have a white label of every seminal techno 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 an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Babytalk,
The Doors,
Ultramagnetic MC's,
Sandy B,
Tomorrow,
Second Layer,
Drive Like Jehu,
Country Joe & The Fish,
Chris & Cosey,
The Pop Group,
Oblivians,
Alison Limerick,
Blancmange,
Anthony Braxton,
X-101,
Tears for Fears,
Can,
The West Coast Pop Art Experimental Band,
Flash Fearless,
The Gories,
Technova,
The J.B.'s,
London Community Gospel Choir,
Adolescents,
Lucky Dragons,
Masters at Work,
Skarface,
Heavy D & The Boyz,
10cc,
Fort Wilson Riot,
Vainqueur,
Funkadelic,
Mandrill,
The Zeros,
Major Organ And The Adding Machine,
the Association,
Mark Hollis,
Piero Umiliani,
Terror Squad Feat. Camron,
Gary Puckett & The Union Gap,
Mantronix,
The Saints,
Neu!,
De La Soul & Jungle Brothers,
Notorious Big And Bone Thugs,
Man Parrish,
The Jesus and Mary Chain,
Marvin Gaye,
Pere Ubu,
Cameo,
Jeru the Damaja,
Little Man,
The Raincoats,
Gastr Del Sol,
Con Funk Shun,
Dave Gahan,
Bobby Womack,
The Index,
Half Japanese,
UT,
Black Flag,
cv313, cv313, cv313, cv313.
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.