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 Cape Verde and from Hong Kong.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Shanghai.
I'm losing my edge to the art-school London 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Andrew Hill to the rock kids.
I played it at the Hacienda.
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 Jawbox. All the underground hits.
All Grey Daturas tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Last Poets record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Joe Smooth,
Joensuu 1685,
Johnny Osbourne,
kango's stein massive,
The Men They Couldn't Hang,
Cymande,
Pete Rock & C.L. Smooth,
Bobby Hutcherson,
Terrestrial Tones,
Main Source,
Lou Reed & John Cale,
The Tremeloes,
Justin Hinds & The Dominoes,
Metal Thangz,
Crash Course in Science,
Bang on a Can All-Stars,
One Last Wish,
Porter Ricks,
Eyeless In Gaza,
Absolute Body Control,
A Certain Ratio,
Young Marble Giants,
Gang Gang Dance,
Nick Fraelich,
Anakelly,
Black Moon,
Albert Ayler,
The Happenings,
Lyres,
Neil Young & Crazy Horse,
Amon Düül II,
The Remains,
Monks,
Quando Quango,
The West Coast Pop Art Experimental Band,
Bronski Beat,
Bootsy Collins,
Flipper,
Skriet,
Oblivians,
Minutemen,
Minor Threat,
John Foxx,
Marcia Griffiths,
Gary Puckett & The Union Gap,
K-Klass,
Kas Product,
The Blackbyrds,
Delon & Dalcan,
Easy Going,
Massinfluence,
Ken Boothe,
The Gladiators,
Larry & the Blue Notes,
Faust,
James Chance & The Contortions,
Make Up,
Wasted Youth,
Moebius,
Unwound, Unwound, Unwound, Unwound.
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.