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 Togo and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1975.
I'm losing my edge.
To all the kids in Seoul and Johannesburg.
I'm losing my edge to the art-school Manchester 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 The Searchers to the punk kids.
I played it at the Crocodile.
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 Moby Grape. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every These Immortal Souls 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 '80s cut and another box set from the '90s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Pharaoh Sanders and the Fire Engines,
Heaven 17,
Andrew Ashong & Theo Parrish,
The Durutti Column,
Donny Hathaway,
Eden Ahbez,
Minny Pops,
Davy DMX,
MC5,
Television,
Chrome,
Banda Bassotti,
Alphaville,
Deadbeat,
H. Thieme,
Charles Mingus,
Von Mondo,
Parry Music,
Black Sheep,
Colin Newman,
Joey Negro,
Organ,
Godley & Creme,
Ultra Naté,
Sexual Harrassment,
The Cowsills,
Oppenheimer Analysis,
Babytalk,
The Doors,
Suburban Knight,
OOIOO,
Basic Channel,
The Fire Engines,
Surgeon,
Absolute Body Control,
Gary Puckett & The Union Gap,
Johnny Osbourne,
Jesper Dahlbäck,
Aswad,
Bang on a Can All-Stars,
Graham Central Station,
Young Marble Giants,
Dark Day,
Inner City,
Mission of Burma,
Skriet,
Marc Almond,
Manfred Mann's Earth Band,
Lou Christie,
Skaos,
Icehouse,
Technova,
Derrick May,
Sticky Fingaz feat. Raekwon,
The Last Poets,
Iggy Pop,
Girls At Our Best!,
Pete Rock & C.L. Smooth,
Public Enemy,
Shoche,
Man Parrish,
June of 44, June of 44, June of 44, June of 44.
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.