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 Iran and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1973.
I'm losing my edge.
To all the kids in Delhi and New York.
I'm losing my edge to the art-school Houston 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Manfred Mann's Earth Band to the rock 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 Barrington Levy. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal rock 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 marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
Grandmaster Flash,
The Doobie Brothers,
Q65,
Aural Exciters,
Kenny Larkin,
Morten Harket,
Pagans,
Technova,
Amon Düül II,
Spandau Ballet,
Laurel Aitken,
Half Japanese,
Lalo Schifrin,
The Black Dice,
Tropical Tobacco,
Young Marble Giants,
Bobby Byrd,
The Alarm Clocks,
Jeff Mills,
CMW,
Rites of Spring,
Gang Starr,
Rod Modell,
Oppenheimer Analysis,
Susan Cadogan,
The Tremeloes,
The Mighty Diamonds,
T. Rex,
Quantec,
Lafayette Afro Rock Band,
Connie Case,
Lou Christie,
Ultravox,
Minnie Riperton,
Dr. Dre and Snoop Doggy Dog,
Janne Schatter,
Kool Moe Dee,
Kings Of Tomorrow,
Strawberry Alarm Clock,
Henry Cow,
Man Eating Sloth,
Angry Samoans,
Nick Cave & The Bad Seeds,
Bizarre Inc.,
Dead Boys,
Suicide,
Howard Jones,
Anthony Braxton,
Severed Heads,
Jesper Dahlbäck,
Wolf Eyes,
Archie Shepp,
Shoche,
Wings,
Donald Byrd,
The Grass Roots,
Joe Finger,
Amazonics,
Sound Behaviour,
The Velvet Underground,
Lonnie Liston Smith,
Kaleidoscope,
The Invisible, The Invisible, The Invisible, The Invisible.
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.