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 the UAE and from Lagos.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Columbus and Columbus.
I'm losing my edge to the art-school Glasgow 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Matthew Halsall to the electroclash 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 Eden Ahbez. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Banda Bassotti 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
Brick,
The Techniques,
the Fania All-Stars,
Crooked Eye,
Derrick Morgan,
Scratch Acid,
Godley & Creme,
The Fall,
Electric Light Orchestra,
Kauko Röyhkä ja Narttu,
The Dave Clark Five,
Joy Division,
Intrusion,
Fort Wilson Riot,
Shuggie Otis,
Half Japanese,
The Neon Judgement,
Robert Görl,
Blancmange,
Icehouse,
Bootsy's Rubber Band,
Gabor Szabo,
John Coltrane,
Danielle Patucci,
The Flesh Eaters,
Bronski Beat,
China Crisis,
Todd Rundgren,
The Happenings,
Faust,
Leonard Cohen,
Q65,
Josef K,
Tom Boy,
Cabaret Voltaire,
Al Stewart,
This Heat,
Fear,
48th St. Collective,
Kenny Larkin,
Bobby Byrd,
Q and Not U,
Pere Ubu,
Tubeway Army,
The Index,
Subhumans,
Bill Wells,
Niagra,
Soft Machine,
Yaz,
Zapp,
Depeche Mode,
Soul Sonic Force,
Sunsets and Hearts,
The United States of America,
Wally Richardson,
James Chance & The Contortions,
Terrestrial Tones,
Amon Düül II,
Lou Reed,
Arab on Radar,
The Sisters of Mercy,
Cluster, Cluster, Cluster, Cluster.
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.