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 Dominica and from Lyon.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Manchester and Johannesburg.
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 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 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 John Foxx to the techno kids.
I played it at the Crocodile.
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 Donny Hathaway. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every Reagan Youth 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Swans record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
B.T. Express,
Procol Harum,
Jacob Miller,
Susan Cadogan,
Tim Buckley,
Jimmy McGriff,
Dual Sessions,
Marcia Griffiths,
Pere Ubu,
Aswad,
DeepChord presents Echospace,
Banda Bassotti,
Hardrive,
Jerry's Kids,
The Gories,
Lakeside,
La Düsseldorf,
The Cramps,
Quadrant,
Ronan,
Ice-T,
Liaisons Dangereuses,
Pharaoh Sanders and the Fire Engines,
PIL,
Ultimate Spinach,
Lower 48,
The Gap Band,
Electric Prunes,
Justin Hinds & The Dominoes,
Gastr Del Sol,
Janne Schatter,
Blossom Toes,
Sexual Harrassment,
Rufus Thomas,
Kauko Röyhkä ja Narttu,
Sparks,
John Foxx,
Traffic Nightmare,
Interpol,
The American Breed,
Hashim,
Soulsonic Force,
Marine Girls,
Public Image Ltd.,
Sam Rivers,
Be Bop Deluxe,
Section 25,
Pantytec,
Nik Kershaw,
The Vogues,
Amon Düül II,
Electric Light Orchestra,
Lindisfarne,
the Fania All-Stars,
UT,
Sunsets and Hearts,
CMW,
Sound Behaviour,
The Happenings, The Happenings, The Happenings, The Happenings.
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.