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 Colombia and from Mumbai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1971.
I'm losing my edge.
To all the kids in Woodstock and Jakarta.
I'm losing my edge to the art-school Tokyo 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 guitar 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 Qualms to the jazz 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 The Fire Engines. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Roy Ayers Ubiquity 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 '90s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your sitar and bought a guitar.
I hear that you and your band have sold your guitar and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
Fort Wilson Riot,
Thinking Fellers Union Local 282,
Joe Smooth,
Eric B and Rakim,
Joyce Sims,
Magma,
Larry & the Blue Notes,
Spandau Ballet,
UT,
Black Bananas,
Anakelly,
The Martian,
Rhythm & Sound,
La Düsseldorf,
Half Japanese,
Desert Stars,
The Music Machine,
The J.B.'s,
Crooked Eye,
Susan Cadogan,
Bill Near,
Kaleidoscope,
Iggy Pop,
The Divine Comedy,
Andrew Hill,
Captain Beefheart & His Magic Band,
Gastr Del Sol,
Sun Ra,
Laurel Aitken,
AZ,
Public Enemy,
Stiv Bators,
Notorious BIG live in Amsterdam,
John Holt,
Altered Images,
Gary Puckett & The Union Gap,
June Days,
Kayak,
John Lydon,
Avey Tare,
Maurizio,
the Association,
H. Thieme,
The Alarm Clocks,
Piero Umiliani,
Orchestral Manoeuvres in the Dark,
Funkadelic,
Mr. Review,
Supertramp,
The Cowsills,
Nation of Ulysses,
Adolescents,
Sun Ra Arkestra,
ABC,
Loose Ends,
Rosa Yemen,
Rotary Connection,
Harmonia,
Johnny Osbourne,
Drive Like Jehu,
Angry Samoans,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.