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 Sudan and from Jakarta.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1979.
I'm losing my edge.
To all the kids in Bremen and Seoul.
I'm losing my edge to the art-school Manchester 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 harpsichord 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 Pharoah Sanders to the rap 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 Sight & Sound. All the underground hits.
All PIL tracks. I heard you have a vinyl of every Warren Ellis 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a the Human League record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Peter and Kerry,
Mary Jane Girls,
Von Mondo,
Moebius,
Rhythm & Sound,
The Divine Comedy,
Sandy B,
Agent Orange,
The Skatalites,
Arcadia,
Monks,
Donny Hathaway,
L. Decosne,
Subhumans,
Black Pus,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Leonard Cohen,
Bang On A Can,
Babytalk,
Warren Ellis,
Shoche,
The Associates,
The Saints,
the Germs,
The Fuzztones,
ABC,
10cc,
Crispy Ambulance,
Stockholm Monsters,
The Move,
Ornette Coleman,
Hardrive,
Drive Like Jehu,
Tears for Fears,
Pantaleimon,
Lebanon Hanover,
Brass Construction,
Electric Light Orchestra,
Girls At Our Best!,
Icehouse,
World's Most,
Siglo XX,
Country Joe & The Fish,
Lalo Schifrin,
The Neon Judgement,
Radiohead,
Super Lover Cee & Casanova Rud,
Isaac Hayes,
Cheater Slicks,
Joyce Sims,
Sarah Menescal,
The Peanut Butter Conspiracy,
Rowland S Howard / Lydia Lunch,
Eli Mardock,
The Jesus and Mary Chain,
Traffic Nightmare,
Mark Hollis,
Tropical Tobacco,
Interpol,
It's A Beautiful Day,
Mad Mike,
Maleditus Sound,
Bobby Byrd,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.