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 Fiji and from London.
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 1967 to 1974.
I'm losing my edge.
To all the kids in New York and Johannesburg.
I'm losing my edge to the art-school Bologna 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 güiro 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 Tom Boy to the electroclash kids.
I played it at CBGB's.
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 Soft Machine. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every Sonic Youth record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
Traffic Nightmare,
Public Image Ltd.,
The Beau Brummels,
Brass Construction,
Cheater Slicks,
The Angels of Light,
Ronnie Foster,
The Techniques,
Aloha Tigers,
Smog,
The Neon Judgement,
The Invisible,
Mr. Review,
John Lydon,
Scientists,
Eric B and Rakim,
Cybotron,
Accadde A,
Robert Wyatt,
Kango’s Stein Massive,
Gabor Szabo,
Buzzcocks,
Donald Byrd,
The Index,
Aural Exciters,
The Doors,
The Mighty Diamonds,
The Divine Comedy,
Warsaw,
Funkadelic,
Pagans,
Morten Harket,
Minutemen,
Peter and Kerry,
Kings Of Tomorrow,
Bluetip,
Robert Hood,
The Knickerbockers,
Blake Baxter,
E-Dancer,
Ultravox,
Selector Dub Narcotic,
The J.B.'s,
ABBA,
Liaisons Dangereuses,
Mandrill,
The Dirtbombs,
Simply Red,
Rhythim Is Rhythim,
The Gories,
The Tremeloes,
Quantec,
Kenny Larkin,
Delta 5,
Robert Görl,
the Fania All-Stars,
Soul II Soul,
Bauhaus,
Animal Collective,
Warren Ellis,
David Axelrod,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.