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 Croatia and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1972.
I'm losing my edge.
To all the kids in Philadelphia and Spokane.
I'm losing my edge to the art-school Lagos 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 the Soft Cell to the rap kids.
I played it at the Roxy.
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 Echospace. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
Cybotron,
Charles Mingus,
John Holt,
Andrew Ashong & Theo Parrish,
London Community Gospel Choir,
The Remains,
Deutsch Amerikanische Freundschaft,
Arcadia,
Parry Music,
The Smiths,
Lou Reed & John Cale,
Eric B and Rakim,
Theoretical Girls,
ABBA,
Y Pants,
Morten Harket,
Deadbeat,
Minnie Riperton,
Guru Guru,
Arthur Verocai,
Saccharine Trust,
Scott Walker + Sunn O))),
Ponytail,
The Shadows of Knight,
Mantronix,
Basic Channel,
A Flock of Seagulls,
The Chocolate Watch Band,
The Beau Brummels,
F. McDonald,
The Detroit Cobras,
Aswad,
The Buckinghams,
Ultimate Spinach,
Talk Talk,
Archie Shepp,
Camberwell Now,
cv313,
Hoover,
Masters at Work,
Sun City Girls,
The Blackbyrds,
The Divine Comedy,
Bauhaus,
Tears for Fears,
The Cosmic Jokers,
The Electric Prunes,
Gang Green,
Erykah Badu,
Slick Rick,
Agent Orange,
The Walker Brothers,
Second Layer,
Hashim,
X-Ray Spex,
The Selecter,
Nick Fraelich,
Public Enemy,
Colin Newman,
Dual Sessions,
Interpol,
Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel.
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.