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 Croatia and from Tokyo.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Salvador and Woodstock.
I'm losing my edge to the art-school Spokane 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 clarinet 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 Faraquet to the dance 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 Bootsy Collins. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Brick record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
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 London Community Gospel Choir record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
Echo & the Bunnymen,
Johnny Osbourne,
The Walker Brothers,
Chrome,
Orchestral Manoeuvres in the Dark,
Teenage Jesus and the Jerks,
Accadde A,
Lucky Dragons,
The Shadows of Knight,
Warren Ellis,
Dead Boys,
The Fuzztones,
Tom Boy,
Scott Walker + Sunn O))),
Deutsch Amerikanische Freundschaft,
Soul Sonic Force,
The Sisters of Mercy,
Mary Jane Girls,
Sonny Sharrock,
Minor Threat,
Tubeway Army,
Erykah Badu,
Gian Franco Pienzio,
The Vogues,
Nik Kershaw,
Eli Mardock,
Urselle,
Röyhkä ja Rättö ja Lehtisalo,
Judy Mowatt,
The Chocolate Watch Band,
Mission of Burma,
Soul II Soul,
Cal Tjader,
Al Stewart,
Bootsy's Rubber Band,
Circle Jerks,
The Martian,
K-Klass,
Funkadelic,
Pussy Galore,
Sällskapet,
Aaron Thompson,
Isaac Hayes,
Kool G Rap & DJ Polo,
The Associates,
Pylon,
Quando Quango,
New Age Steppers,
Black Bananas,
Gil Scott-Heron & Brian Jackson,
Blake Baxter,
The Smoke,
Spandau Ballet,
Matthew Bourne,
La Düsseldorf,
Fat Boys,
Siouxsie and the Banshees,
Lou Reed & John Cale,
Joey Negro,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.