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 Czech Republic and from Madrid.
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 1964 to 1970.
I'm losing my edge.
To all the kids in London and Edmonton.
I'm losing my edge to the art-school Columbus 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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Lydon to the jazz kids.
I played it at Trash.
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 Bob Dylan. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Das Ding 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
Duran Duran,
Black Sheep,
John Holt,
Spandau Ballet,
The Durutti Column,
kango's stein massive,
Chris Corsano,
Marshall Jefferson,
Masters at Work,
Notorious BIG live in Amsterdam,
Funkadelic,
R.M.O.,
Massinfluence,
Fat Boys,
Matthew Halsall,
Pierre Henry,
The Searchers,
Danielle Patucci,
Loose Ends,
Cybotron,
New Age Steppers,
Scion,
Rufus Thomas,
Jawbox,
Joy Division,
MC5,
Lou Reed,
The United States of America,
Mad Mike,
Babytalk,
Ultimate Spinach,
Scott Walker + Sunn O))),
Television,
Roy Ayers,
Radiohead,
Kevin Saunderson,
Deadbeat,
The Buckinghams,
Pharoah Sanders,
Sun City Girls,
Symarip,
Kenny Larkin,
Zapp,
Peter and Kerry,
Franke,
Faust,
June Days,
Sound Behaviour,
Sunsets and Hearts,
Stereo Dub,
Bronski Beat,
Erasure,
Red Lorry Yellow Lorry,
Ossler,
ABBA,
Shuggie Otis,
Mary Jane Girls,
Dave Gahan,
The Gladiators,
Deepchord,
DJ Style,
Magma,
Surgeon,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.