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 Georgia and from Tehran.
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 1965 to 1978.
I'm losing my edge.
To all the kids in New York and Lagos.
I'm losing my edge to the art-school Seoul 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Human League to the disco kids.
I played it at Trash.
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 Yellowson. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
Heaven 17,
48th St. Collective,
the Sonics,
Arab on Radar,
The Associates,
Johnny Osbourne,
Lizzy Mercier Descloux,
Youth Brigade,
Dead Boys,
Glenn Branca,
Drive Like Jehu,
World's Most,
Barclay James Harvest,
Brick,
The Toasters,
Popol Vuh,
Eurythmics,
Blossom Toes,
Nik Kershaw,
The Motions,
Nas,
Manfred Mann's Earth Band,
Rahsaan Roland Kirk,
Janne Schatter,
Gang Green,
Grandmaster Flash and the Furious Five,
Bauhaus,
Wally Richardson,
Zapp,
Surgeon,
Mars,
X-101,
Dual Sessions,
Sun Ra,
Andrew Ashong & Theo Parrish,
Anakelly,
The Offenders,
John Foxx,
Smog,
Talk Talk,
Marc Almond,
Bad Manners,
Ajijia Myrayebe,
Reagan Youth,
Siouxsie and the Banshees,
Jeff Mills,
Pagans,
Pharaoh Sanders and the Fire Engines,
Danielle Patucci,
Eric Dolphy,
The Kinks,
Joey Negro,
Dark Day,
Peter & Gordon,
Jerry's Kids,
Stereo Dub,
The West Coast Pop Art Experimental Band,
Pere Ubu,
Franke,
Crash Course in Science,
The Modern Lovers,
Pylon, Pylon, Pylon, Pylon.
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.