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 Saudi Arabia and from Beijing.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Madrid.
I'm losing my edge to the art-school Tokyo 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 organ sounds with much patience.
I was there when Tom Verlaine 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 The Leaves to the jazz 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 Moby Grape. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every Eddi Front record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
David Axelrod,
Fort Wilson Riot,
The Black Dice,
Jacob Miller,
Amon Düül,
The Monks,
Ornette Coleman,
Frankie Knuckles,
Masters at Work,
Andrew Hill,
The Alarm Clocks,
the Human League,
Slave,
Faraquet,
Jesper Dahlback,
Electric Prunes,
The Walker Brothers,
Eddi Front,
Infiniti,
The Selecter,
Nils Olav,
Saccharine Trust,
Mark Hollis,
E-Dancer,
Larry & the Blue Notes,
Maurizio,
Warren Ellis,
Boredoms,
Kerrie Biddell,
X-101,
Charles Mingus,
Crime,
Scratch Acid,
Glenn Branca,
Buzzcocks,
Aaron Thompson,
Judy Mowatt,
Darondo,
The Chocolate Watch Band,
Electric Light Orchestra,
The Smiths,
Grey Daturas,
Sunsets and Hearts,
Jesper Dahlbäck,
OOIOO,
This Heat,
Kool G Rap & DJ Polo,
Lafayette Afro Rock Band,
Skarface,
The American Breed,
The Fall,
Kayak,
The Sound,
Supertramp,
Piero Umiliani,
Visionaries,LMNO, T- Love & Iriscience,
Crispian St. Peters,
Al Stewart,
Harmonia,
Jimmy McGriff,
Minny Pops,
Michelle Simonal,
Hoover, Hoover, Hoover, Hoover.
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.