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 Cambodia and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1974.
I'm losing my edge.
To all the kids in New York and Houston.
I'm losing my edge to the art-school Accra 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 spring reverb 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 Dual Sessions to the techno kids.
I played it at Cafe Wha.
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 Rosa Yemen tracks. I heard you have a vinyl of every Magma record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
kango's stein massive,
Flamin' Groovies,
Fifty Foot Hose,
Skaos,
Warsaw,
Eddi Front,
Letta Mbulu,
Grandmaster Flash,
Tom Boy,
Kas Product,
The Remains,
Heavy D & The Boyz,
Pole,
Sad Lovers and Giants,
Bill Wells,
Groovy Waters,
The Monks,
Mandrill,
Au Pairs,
Leonard Cohen,
Ken Boothe,
Gregory Isaacs,
The Birthday Party,
Sandy B,
Hot Snakes,
Sun City Girls,
The Associates,
Tommy Roe,
The Men They Couldn't Hang,
Ajijia Myrayebe,
Harmonia,
Subhumans,
Heaven 17,
The Grass Roots,
Robert Hood,
Brothers Johnson,
Lafayette Afro Rock Band,
Lucky Dragons,
The Trojans,
David Axelrod,
The Barracudas,
Teenage Jesus and the Jerks,
The Gun Club,
Marshall Jefferson,
Soul II Soul,
Lightning Bolt,
T.S.O.L.,
Cal Tjader,
Ultra Naté,
Buzzcocks,
Bauhaus,
Cheater Slicks,
Justin Hinds & The Dominoes,
Reagan Youth,
Jeff Mills,
Kevin Saunderson,
David Bowie,
Cabaret Voltaire,
Eyeless In Gaza,
These Immortal Souls,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.