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 Rwanda and from Lyon.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1973.
I'm losing my edge.
To all the kids in Madrid and Tehran.
I'm losing my edge to the art-school London 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Fluxion to the rap kids.
I played it at the Hacienda.
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 Al Stewart. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Skaos record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Young Marble Giants,
Reagan Youth,
Model 500,
Susan Cadogan,
Thee Headcoats,
Brass Construction,
Buzzcocks,
Sun City Girls,
Circle Jerks,
Delta 5,
Deadbeat,
New York Dolls,
Gang Gang Dance,
The Alarm Clocks,
Ossler,
Cecil Taylor,
Gregory Isaacs,
Bootsy's Rubber Band,
Popol Vuh,
The Fall,
Stiv Bators,
Sun Ra,
Roy Ayers Ubiquity,
Kool Moe Dee,
Mary Jane Girls,
The Men They Couldn't Hang,
Black Pus,
Mars,
Second Layer,
The Smiths,
Davy DMX,
Hardrive,
Lou Reed,
Negative Approach,
Faraquet,
Urselle,
Be Bop Deluxe,
Ludus,
Ituana,
The Tremeloes,
Pantytec,
Tropical Tobacco,
Sun Ra Arkestra,
Eden Ahbez,
Danielle Patucci,
The Buckinghams,
Cymande,
China Crisis,
PIL,
The Pretty Things,
Gang Green,
Moby Grape,
Matthew Halsall,
The Gun Club,
Pole,
Trumans Water,
Gang Starr,
Fifty Foot Hose,
Rahsaan Roland Kirk,
Hot Snakes,
Isaac Hayes,
The Barracudas,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.