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 Botswana and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Bologna and Hong Kong.
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 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 Rufus Thomas to the techno 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 Nation of Ulysses. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Lebanon Hanover record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television Personalities,
The Slits,
John Lydon,
Desert Stars,
Adolescents,
Radiopuhelimet,
David Bowie,
The Mojo Men,
Bootsy Collins,
Pole,
Kayak,
Public Enemy,
Wire,
ABC,
the Human League,
Fort Wilson Riot,
Lindisfarne,
Kevin Saunderson,
Jawbox,
Ornette Coleman,
Tubeway Army,
Notorious BIG live in Amsterdam,
The Happenings,
Dual Sessions,
Eli Mardock,
The Five Americans,
Grandmaster Flash and the Furious Five,
Bang on a Can All-Stars,
Yazoo,
It's A Beautiful Day,
The Star Department,
Fluxion,
London Community Gospel Choir,
Chris & Cosey,
AZ,
Jacques Brel,
Masters at Work,
Pere Ubu,
Soft Cell,
These Immortal Souls,
The Misunderstood,
Cymande,
Selector Dub Narcotic,
the Normal,
Brass Construction,
Icehouse,
The Cowsills,
Gil Scott-Heron and Jamie xx,
Kool G Rap & DJ Polo,
Fat Boys,
The Fall,
CMW,
Ponytail,
Harmonia,
Patti Smith,
Boogie Down Productions,
The Busters,
Gang of Four,
Joyce Sims,
Terrestrial Tones,
The Black Dice,
Maurizio, Maurizio, Maurizio, Maurizio.
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.