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 Greece and from Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Glasgow.
I'm losing my edge to the art-school Sao Paulo 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 theremin 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 Sandy B to the dance kids.
I played it at the Roxy.
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 James White and The Blacks. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every Motorama 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your oboe and bought a theremin.
I hear that you and your band have sold your theremin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
New York Dolls,
Marine Girls,
Shoche,
ABC,
Scratch Acid,
The Last Poets,
Agitation Free,
Gang Gang Dance,
the Association,
Peter and Kerry,
Albert Ayler,
T. Rex,
Siouxsie and the Banshees,
Camberwell Now,
Visage,
The Stooges,
Boz Scaggs,
The Cowsills,
Sun Ra,
Bronski Beat,
Lafayette Afro Rock Band,
Section 25,
Motorama,
Harpers Bizarre,
Cabaret Voltaire,
The Associates,
Dark Day,
Barry Ungar,
X-101,
The United States of America,
New Age Steppers,
Delon & Dalcan,
Robert Wyatt,
Moebius,
Animal Collective,
The Sisters of Mercy,
Eric B and Rakim,
Masters at Work,
Silicon Teens,
Country Joe & The Fish,
Qualms,
Boredoms,
Rowland S Howard / Lydia Lunch,
Vaughan Mason & Crew,
Excepter,
Ponytail,
Absolute Body Control,
Amon Düül II,
Manfred Mann's Earth Band,
Grandmaster Flash,
Larry & the Blue Notes,
The Monochrome Set,
Warren Ellis,
Minny Pops,
Radio Birdman,
Captain Beefheart & His Magic Band,
Tears for Fears,
Michelle Simonal,
Procol Harum,
Mr. Review,
Fela Kuti,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.