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 Thailand and from Milan.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Taipei and Houston.
I'm losing my edge to the art-school Manila 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Darondo to the grime 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 The American Breed. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Graham Central Station 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
It's A Beautiful Day,
Mission of Burma,
Mark Hollis,
Panda Bear,
Howard Jones,
Black Bananas,
The Fugs,
Pantytec,
Albert Ayler,
Jeff Mills,
De La Soul & Jungle Brothers,
Grandmaster Flash and the Furious Five,
Animal Collective,
DJ Style,
Susan Cadogan,
Wally Richardson,
Cameo,
Alphaville,
Patti Smith,
Al Stewart,
Subhumans,
Prince Buster,
Sparks,
Liliput,
Bang On A Can,
the Normal,
Duran Duran,
The Gap Band,
Pierre Henry,
Magazine,
Pantaleimon,
Sonic Youth,
Von Mondo,
Monks,
Procol Harum,
Althea and Donna,
E-Dancer,
Pharoah Sanders,
Gil Scott-Heron & Brian Jackson,
MC5,
Don Cherry,
Make Up,
Anakelly,
The Index,
Minutemen,
The United States of America,
Cheater Slicks,
Matthew Halsall,
Bronski Beat,
Super Lover Cee & Casanova Rud,
Goldenarms,
Accadde A,
The Mojo Men,
The Monks,
48th St. Collective,
Trumans Water,
Marshall Jefferson,
Infiniti,
Index,
Camberwell Now,
Richard Hell and the Voidoids,
China Crisis,
Ronan, Ronan, Ronan, Ronan.
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.