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 Burundi and from New York.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1971.
I'm losing my edge.
To all the kids in Delhi and Columbus.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the organ 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 Black Flag to the electroclash kids.
I played it at the 40 Watt.
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 Unrelated Segments. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Section 25 record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Magma record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Average White Band,
Darondo,
Cecil Taylor,
Man Eating Sloth,
Idris Muhammad,
Hoover,
Fela Kuti,
The Fuzztones,
The Names,
Pere Ubu,
Toni Rubio,
Harpers Bizarre,
a-ha,
Minny Pops,
Gil Scott-Heron and Jamie xx,
Fatback Band,
Rhythim Is Rhythim,
Yaz,
Gil Scott-Heron & Brian Jackson,
10cc,
Sex Pistols,
Bronski Beat,
Underground Resistance,
Yusef Lateef,
Black Sheep,
Avey Tare's Slasher Flicks,
Dennis Brown,
Pantytec,
Nils Olav,
Maleditus Sound,
Richard Hell and the Voidoids,
Desert Stars,
Stetsasonic,
Gian Franco Pienzio,
Basic Channel,
Super Lover Cee & Casanova Rud,
The Gories,
The West Coast Pop Art Experimental Band,
Barbara Tucker,
Michelle Simonal,
Inner City,
Robert Hood,
Mandrill,
Sad Lovers and Giants,
Ultra Naté,
Bob Dylan,
Kevin Saunderson,
Surgeon,
Parry Music,
The Smiths,
Technova,
The J.B.'s,
Al Stewart,
Fat Boys,
Erykah Badu,
Swans,
The Doors,
Shuggie Otis,
Angry Samoans,
Slave,
DJ Sneak,
Massinfluence,
John Coltrane,
Arcadia, Arcadia, Arcadia, Arcadia.
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.