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 United Kingdom 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 1966 to 1973.
I'm losing my edge.
To all the kids in Lagos and Houston.
I'm losing my edge to the art-school Philadelphia 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 mellotron 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 Patti Smith to the rock kids.
I played it at the 40 Watt.
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 Kas Product. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Archie Shepp record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marvin Gaye,
Chris & Cosey,
Japan,
Pulsallama,
Surgeon,
Stockholm Monsters,
Nation of Ulysses,
Neil Young & Crazy Horse,
Bad Manners,
Amon Düül,
Soft Cell,
the Slits,
Ultravox,
MC5,
Sun Ra Arkestra,
Avey Tare,
Neu!,
Severed Heads,
Roy Ayers,
Rotary Connection,
Crispy Ambulance,
Altered Images,
Pylon,
Jawbox,
Lafayette Afro Rock Band,
Infiniti,
Ultimate Spinach,
Swans,
Pharaoh Sanders and the Fire Engines,
Ornette Coleman,
Mad Mike,
Eric B and Rakim,
Skaos,
Blossom Toes,
The Black Dice,
Mr. Review,
Aswad,
Laurel Aitken,
X-101,
Neil Young,
Ronnie Foster,
The Beau Brummels,
Cameo,
Donny Hathaway,
Barbara Tucker,
World's Most,
Simply Red,
The Move,
Jimmy McGriff,
Sunsets and Hearts,
Lindisfarne,
Trumans Water,
Peter Gordon & Love of Life Orchestra,
Joy Division,
Wire,
Kas Product,
Crash Course in Science,
The Cure,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.