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 Sierra Leone and from Accra.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Lyon and Salvador.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 Captain Beefheart & His Magic Band to the crunk kids.
I played it at the Troubador.
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 Grandmaster Flash. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every Laurel Aitken 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Evens,
Steve Hackett,
PIL,
Mandrill,
Gang of Four,
Todd Rundgren,
Brick,
Junior Murvin,
Frankie Knuckles,
Ultra Naté,
the Sonics,
Bobby Hutcherson,
The Doobie Brothers,
Chrome,
Rufus Thomas,
OOIOO,
Jeff Lynne,
Pharaoh Sanders and the Fire Engines,
Beasts of Bourbon,
Hardrive,
Maleditus Sound,
Procol Harum,
Letta Mbulu,
Lee Hazlewood,
Japan,
Röyhkä ja Rättö ja Lehtisalo,
Yusef Lateef,
Kayak,
Easy Going,
Siglo XX,
Ajijia Myrayebe,
Kevin Saunderson,
Mission of Burma,
Gong,
Pagans,
Basic Channel,
Cabaret Voltaire,
Rhythm & Sound,
Vainqueur,
Audionom,
The West Coast Pop Art Experimental Band,
Public Enemy,
Nik Kershaw,
Khruangbin,
Matthew Halsall,
Tomorrow,
The Royal Family And The Poor,
Angels of Light & Akron/Family,
Notorious Big And Bone Thugs,
The Fire Engines,
Strawberry Alarm Clock,
Dark Day,
Masters at Work,
Lakeside,
Michelle Simonal,
Kerrie Biddell,
The Mighty Diamonds,
Dorothy Ashby,
The American Breed,
Neu!,
The Electric Prunes,
The Knickerbockers, The Knickerbockers, The Knickerbockers, The Knickerbockers.
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.