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 New Zealand and from Copenhagen.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Bremen and Philadelphia.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the synthesizer 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 Faust to the crunk kids.
I played it at the Spitz.
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 Lou Reed. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Qualms record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The New Christs record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
Lyres,
The Last Poets,
Black Sheep,
Warren Ellis,
L. Decosne,
Joyce Sims,
Alice Coltrane,
Orchestral Manoeuvres in the Dark,
Flamin' Groovies,
The Music Machine,
Marc Almond,
Cabaret Voltaire,
Electric Prunes,
Kango’s Stein Massive,
The Martian,
Nation of Ulysses,
Icehouse,
Michelle Simonal,
The Cure,
The Flesh Eaters,
Eve St. Jones,
The Jesus and Mary Chain,
Drexciya,
June Days,
Babytalk,
Kings Of Tomorrow,
Amon Düül II,
The Residents,
Jeff Lynne,
Jimmy McGriff,
Rites of Spring,
Lafayette Afro Rock Band,
Joe Finger,
Cal Tjader,
Rowland S Howard / Lydia Lunch,
Pierre Henry,
The Mojo Men,
Matthew Halsall,
CMW,
Tropical Tobacco,
X-101,
Swell Maps,
Animal Collective,
Bill Near,
Massinfluence,
The Knickerbockers,
It's A Beautiful Day,
John Lydon,
Cameo,
MDC,
Scratch Acid,
Interpol,
Amazonics,
Bobbi Humphrey,
Stiv Bators,
The Angels of Light,
Ralphi Rosario,
Sun City Girls,
Banda Bassotti,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.