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 Jamaica and from Winnipeg.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Accra and Manila.
I'm losing my edge to the art-school Shanghai 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the organ 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 Tres Demented to the funk kids.
I played it at the Astoria.
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 Archie Shepp. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Strawberry Alarm Clock,
The Shadows of Knight,
ABC,
Sun Ra,
Chris & Cosey,
Barclay James Harvest,
The Fortunes,
Jeru the Damaja,
Man Eating Sloth,
Motorama,
Rahsaan Roland Kirk,
The Grass Roots,
Avey Tare,
Radiopuhelimet,
Scratch Acid,
Crispy Ambulance,
Black Bananas,
Delon & Dalcan,
Franke,
John Holt,
The Skatalites,
Inner City,
Josef K,
The Names,
David Axelrod,
Anakelly,
Malaria!,
The Gun Club,
Severed Heads,
Wally Richardson,
Roy Ayers Ubiquity,
Sarah Menescal,
Stockholm Monsters,
Suicide,
Mary Jane Girls,
Chris Corsano,
Slave,
Fela Kuti,
Black Flag,
Altered Images,
The Gories,
Lebanon Hanover,
Derrick May,
The Gladiators,
Charles Mingus,
Saccharine Trust,
Black Sheep,
The Walker Brothers,
Aswad,
Cybotron,
Thinking Fellers Union Local 282,
Sällskapet,
Funkadelic,
Bob Dylan,
Bobby Sherman,
Steve Hackett,
The Seeds,
Bootsy's Rubber Band,
Kauko Röyhkä ja Narttu,
James Chance & The Contortions,
Oneida,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.