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 Comoros and from Shanghai.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1970.
I'm losing my edge.
To all the kids in Johannesburg and Houston.
I'm losing my edge to the art-school Houston 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 The Move to the grime kids.
I played it at Trash.
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 Dennis Brown. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Bobby Byrd record on German import.
I heard that you have a white label of every seminal disco 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 güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Evens,
Roy Ayers Ubiquity,
K-Klass,
Eurythmics,
Bluetip,
Kauko Röyhkä ja Narttu,
Pere Ubu,
Eric Copeland,
Siouxsie and the Banshees,
Slick Rick,
Organ,
Newcleus,
Amazonics,
Terry Callier,
Kango’s Stein Massive,
Average White Band,
The Angels of Light,
Grauzone,
Cameo,
Moss Icon,
Surgeon,
Neu!,
Thinking Fellers Union Local 282,
Tim Buckley,
E-Dancer,
H. Thieme,
Frankie Knuckles,
Section 25,
Matthew Bourne,
kango's stein massive,
Nico,
Peter Gordon & Love of Life Orchestra,
The Leaves,
Unwound,
Derrick Morgan,
8 Eyed Spy,
The Kinks,
Magazine,
The Fire Engines,
Rufus Thomas,
Monks,
Sexual Harrassment,
CMW,
Nick Fraelich,
Black Pus,
AZ,
Alice Coltrane,
The Victims,
Fela Kuti,
The Names,
Grandmaster Flash,
The Wake,
Bang on a Can All-Stars,
Zero Boys,
The American Breed,
Sonny Sharrock,
Bauhaus,
Trumans Water,
John Cale,
Cabaret Voltaire,
James Chance & The Contortions,
Rekid, Rekid, Rekid, Rekid.
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.