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 Thailand and from Delhi.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Salvador and Jakarta.
I'm losing my edge to the art-school Stockholm 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 Lou Reed 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 Visage to the crunk 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 Toni Rubio. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
The Evens,
Ronan,
Judy Mowatt,
Accadde A,
The Cure,
Buzzcocks,
Ajijia Myrayebe,
Bronski Beat,
Letta Mbulu,
Surgeon,
Sun City Girls,
Henry Cow,
JFA,
Hoover,
Qualms,
Eurythmics,
Connie Case,
Spoonie Gee,
Basic Channel,
Nation of Ulysses,
Liaisons Dangereuses,
Marshall Jefferson,
Jeff Mills,
Amon Düül,
Faraquet,
Godley & Creme,
Eve St. Jones,
Byron Stingily,
Kerrie Biddell,
Be Bop Deluxe,
The Detroit Cobras,
X-102,
Grey Daturas,
Pierre Henry,
Parry Music,
Stereo Dub,
Ultramagnetic MC's,
Bad Manners,
Radiopuhelimet,
Robert Wyatt,
T. Rex,
Gastr Del Sol,
Quantec,
Kaleidoscope,
Magma,
Carl Craig,
Pet Shop Boys,
Make Up,
Thompson Twins,
FM Einheit,
The Fugs,
The Doors,
Angels of Light & Akron/Family,
Excepter,
Television,
Lyres,
Groovy Waters,
Camron Feat. Memphis Bleek And Beenie Seigel,
Barry Ungar,
Laurel Aitken,
Kas Product,
X-Ray Spex,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.