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 Bremen.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Copenhagen.
I'm losing my edge to the art-school Bremen 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 linndrum 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 Amon Düül II to the electroclash kids.
I played it at CBGB's.
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 Kaleidoscope. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Agitation Free record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
Iggy Pop,
James Chance & The Contortions,
The Young Rascals,
Cybotron,
Robert Görl,
Vainqueur,
Major Organ And The Adding Machine,
Susan Cadogan,
The Fire Engines,
The Busters,
Rod Modell,
LL Cool J,
Skriet,
Radiopuhelimet,
Glambeats Corp.,
Maleditus Sound,
Duran Duran,
Patti Smith,
Loose Ends,
F. McDonald,
Agitation Free,
The Blues Magoos,
Agent Orange,
Yellowson,
The Raincoats,
Moby Grape,
Negative Approach,
New Age Steppers,
Eve St. Jones,
Schoolly D,
The Mighty Diamonds,
London Community Gospel Choir,
The Wake,
Teenage Jesus and the Jerks,
Lakeside,
David Axelrod,
Chrome,
Lyres,
Eric Dolphy,
Albert Ayler,
Ajijia Myrayebe,
Tomorrow,
Brick,
Scion,
Terry Callier,
Frankie Knuckles,
Bad Manners,
Girls At Our Best!,
Ossler,
Masters at Work,
JFA,
Eddi Front,
Hashim,
Gichy Dan,
Hasil Adkins,
Beasts of Bourbon,
The Evens,
Sexual Harrassment,
Hoover,
Jeff Mills,
Gary Puckett & The Union Gap,
Radiohead, Radiohead, Radiohead, Radiohead.
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.