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 Sweden and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Columbus and Seoul.
I'm losing my edge to the art-school Columbus 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Roy Ayers to the grunge 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 Swans. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry's Kids,
Moby Grape,
Public Enemy,
Suicide,
the Association,
U.S. Maple,
The Cure,
Sam Rivers,
Urselle,
The Searchers,
Jacob Miller,
Gang Green,
Stiv Bators,
Rhythim Is Rhythim,
The Golliwogs,
Symarip,
Robert Görl,
the Slits,
Newcleus,
The Residents,
Anakelly,
The West Coast Pop Art Experimental Band,
Andrew Ashong & Theo Parrish,
Larry & the Blue Notes,
Alton Ellis,
Tim Buckley,
F. McDonald,
Qualms,
Groovy Waters,
Radiohead,
Johnny Osbourne,
Richard Hell and the Voidoids,
Sexual Harrassment,
Iggy Pop,
The Kinks,
R.M.O.,
Rotary Connection,
The Gun Club,
Eve St. Jones,
The Durutti Column,
Bluetip,
Joey Negro,
Chrome,
Sex Pistols,
The Fuzztones,
Desert Stars,
Roger Hodgson,
Minnie Riperton,
Soft Cell,
Porter Ricks,
The Dirtbombs,
Lalann,
Banda Bassotti,
Bootsy's Rubber Band,
Make Up,
Maleditus Sound,
Neil Young & Crazy Horse,
Black Moon,
John Holt,
Mandrill,
FM Einheit, FM Einheit, FM Einheit, FM Einheit.
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.