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 Syria and from Bologna.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Manchester and Delhi.
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 1978 at the first Visage practice in a loft in London.
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 Harpers Bizarre to the jazz 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 The Kinks. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Radio Birdman 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
Charles Mingus,
Beasts of Bourbon,
The Smoke,
U.S. Maple,
Sun City Girls,
Cluster,
Urselle,
Shoche,
Albert Ayler,
Donald Byrd,
Qualms,
The Black Dice,
The Martian,
Unwound,
Warren Ellis,
Roy Ayers Ubiquity,
Jawbox,
Lindisfarne,
Blake Baxter,
Derrick Morgan,
Justin Hinds & The Dominoes,
Trumans Water,
Duran Duran,
Oppenheimer Analysis,
David Bowie,
Avey Tare & Kría Brekkan,
Tres Demented,
Hoover,
Archie Shepp,
Skaos,
The Monochrome Set,
June Days,
Bronski Beat,
Terrestrial Tones,
Letta Mbulu,
Anthony Braxton,
Lou Christie,
Eden Ahbez,
Metal Thangz,
Scion,
Tubeway Army,
Kango’s Stein Massive,
Mars,
Brass Construction,
Flamin' Groovies,
MC5,
The Invisible,
Darondo,
Cal Tjader,
The Monks,
Parry Music,
London Community Gospel Choir,
Rites of Spring,
Magma,
Vaughan Mason & Crew,
The Moleskins,
Harpers Bizarre,
Fluxion,
Reagan Youth,
The Music Machine,
Dennis Brown, Dennis Brown, Dennis Brown, Dennis Brown.
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.