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 Bahrain and from Woodstock.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1978.
I'm losing my edge.
To all the kids in Mexico City and Milan.
I'm losing my edge to the art-school Houston 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 marimba 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 Michelle Simonal to the funk 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 Sonny Sharrock. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every Drexciya 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 '80s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Banda Bassotti,
The Tremeloes,
Can,
Lungfish,
Niagra,
Ice-T,
John Cale,
Nico,
Henry Cow,
The Slackers,
R.M.O.,
David Axelrod,
Cecil Taylor,
Scott Walker + Sunn O))),
Monks,
Public Enemy,
The Dead C,
Bang on a Can All-Stars,
Unwound,
Eric B and Rakim,
H. Thieme,
Glambeats Corp.,
The Fortunes,
Funky Four + One,
Red Lorry Yellow Lorry,
Rhythim Is Rhythim,
Nation of Ulysses,
Tropical Tobacco,
Bobbi Humphrey,
Aswad,
Kango’s Stein Massive,
Barclay James Harvest,
Deutsch Amerikanische Freundschaft,
John Lydon,
Fad Gadget,
Index,
Young Marble Giants,
Motorama,
The Names,
Sonny Sharrock,
John Foxx,
The Litter,
Bill Near,
Masters at Work,
Babytalk,
The Durutti Column,
Arthur Verocai,
Black Flag,
Quantec,
Television Personalities,
Davy DMX,
The Knickerbockers,
Morten Harket,
Toni Rubio,
Metal Thangz,
The West Coast Pop Art Experimental Band,
The American Breed,
Todd Rundgren,
Lou Reed & Metallica,
Gil Scott-Heron & Brian Jackson,
Section 25, Section 25, Section 25, Section 25.
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.