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 Belize and from Lille.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Salvador and Manchester.
I'm losing my edge to the art-school Jakarta 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 Feelies practice in a loft in Haledon.
I was working on the guitar 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 T.S.O.L. to the electroclash 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 Monks. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Jeru the Damaja record on German import.
I heard that you have a white label of every seminal grime 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 harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Black Sheep record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Cabaret Voltaire,
Rotary Connection,
Yazoo,
Sällskapet,
Crash Course in Science,
Charles Mingus,
The Fuzztones,
Saccharine Trust,
Grey Daturas,
Sun Ra,
UT,
The Gap Band,
Swans,
Unrelated Segments,
E-Dancer,
The Shadows of Knight,
Scientists,
Alison Limerick,
Amon Düül,
The Misunderstood,
Josef K,
Model 500,
Albert Ayler,
Rhythim Is Rhythim,
Ice-T,
Harmonia,
Orchestral Manoeuvres in the Dark,
Louis and Bebe Barron,
The Count Five,
R.M.O.,
Jerry's Kids,
The Beau Brummels,
Tommy Roe,
Letta Mbulu,
Kings Of Tomorrow,
Rakim,
B.T. Express,
Liaisons Dangereuses,
Don Cherry,
T.S.O.L.,
Main Source,
Byron Stingily,
New York Dolls,
Dennis Brown,
Absolute Body Control,
Tim Buckley,
David McCallum,
Infiniti,
kango's stein massive,
The Birthday Party,
Justin Hinds & The Dominoes,
Godley & Creme,
David Bowie,
Bobby Hutcherson,
Terry Callier,
Dorothy Ashby,
Fluxion,
Peter Gordon & Love of Life Orchestra,
Organ,
Jeff Mills,
Tomorrow,
Camouflage,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.