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 Netherlands and from Delhi.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Manila and New York.
I'm losing my edge to the art-school Taipei 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 1976 at the first Wire practice in a loft in Watford.
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 Grandmaster Flash to the punk kids.
I played it at the Crocodile.
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 Fad Gadget tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
KRS-One,
Eli Mardock,
Swans,
PIL,
Nation of Ulysses,
Sun Ra Arkestra,
De La Soul & Jungle Brothers,
Sonny Sharrock,
Warren Ellis,
Cymande,
Scratch Acid,
Yellowson,
Spandau Ballet,
Judy Mowatt,
Steve Hackett,
Porter Ricks,
The United States of America,
Cabaret Voltaire,
The Raincoats,
Lightning Bolt,
Howard Jones,
Blancmange,
The Cure,
Thee Headcoats,
Wighnomy Brothers & Robag Wruhme,
Dawn Penn,
F. McDonald,
Japan,
Matthew Halsall,
Manfred Mann's Earth Band,
Siouxsie and the Banshees,
Index,
The Mummies,
The Busters,
Mandrill,
Sly & The Family Stone,
Marc Romboy vs. Booka Shade,
Pulsallama,
Dorothy Ashby,
Rowland S Howard / Lydia Lunch,
Peter and Kerry,
DJ Style,
Cal Tjader,
The Shadows of Knight,
Ralphi Rosario,
The Angels of Light,
Lou Reed & Metallica,
Jacques Brel,
Donny Hathaway,
Deepchord,
Barrington Levy,
Rufus Thomas,
Funky Four + One,
Crash Course in Science,
H. Thieme,
Richard Hell and the Voidoids,
New Age Steppers,
Spoonie Gee,
Vaughan Mason & Crew,
Rahsaan Roland Kirk,
Ultimate Spinach,
Ronnie Foster,
The Move, The Move, The Move, The Move.
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.