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 South Sudan and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Taipei and Accra.
I'm losing my edge to the art-school Calgary 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 1978 at the first Visage practice in a loft in London.
I was working on the snare 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 Niagra to the dance 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 Monolake. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every The Stooges record on German import.
I heard that you have a white label of every seminal punk 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 a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Barry Ungar,
Lonnie Liston Smith,
Fat Boys,
Eric Dolphy,
Oneida,
Parry Music,
Fatback Band,
Massinfluence,
Audionom,
Röyhkä ja Rättö ja Lehtisalo,
Dennis Brown,
Steve Hackett,
Cal Tjader,
Chris Corsano,
Siglo XX,
The Gories,
The Zeros,
Nick Fraelich,
Echospace,
Drive Like Jehu,
Eurythmics,
The American Breed,
T.S.O.L.,
Blancmange,
Interpol,
Jawbox,
The Gun Club,
Soft Machine,
Sexual Harrassment,
Sex Pistols,
Davy DMX,
Donald Byrd,
Dark Day,
Eric B and Rakim,
Don Cherry,
Inner City,
the Association,
Television,
Toni Rubio,
Rowland S Howard / Lydia Lunch,
Ultimate Spinach,
Desert Stars,
Nick Cave & The Bad Seeds,
Whodini,
The Names,
Sarah Menescal,
Heaven 17,
Mandrill,
Funkadelic,
X-101,
Al Stewart,
The West Coast Pop Art Experimental Band,
The Blues Magoos,
Cybotron,
The Toasters,
Bronski Beat,
Scratch Acid,
Robert Hood,
Shuggie Otis,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.