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 Singapore and from Lagos.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Philadelphia 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie 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 Arthur Verocai to the jazz kids.
I played it at the 40 Watt.
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 Lucky Dragons. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Deepchord 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 '70s cut and another box set from the '70s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Ludus,
Archie Shepp,
Röyhkä ja Rättö ja Lehtisalo,
Pylon,
Banda Bassotti,
Sarah Menescal,
Magazine,
Au Pairs,
Franke,
Nils Olav,
Avey Tare & Kría Brekkan,
Ultramagnetic MC's,
Cluster,
Underground Resistance,
Sun Ra,
Procol Harum,
Eric B and Rakim,
Gerry Rafferty,
DeepChord presents Echospace,
Flash Fearless,
Tom Boy,
Mary Jane Girls,
KRS-One,
Alice Coltrane,
Bobby Sherman,
The Mummies,
Silicon Teens,
Barbara Tucker,
a-ha,
June Days,
Piero Umiliani,
John Cale,
Liaisons Dangereuses,
Albert Ayler,
Sixth Finger,
Althea and Donna,
Bill Wells,
FM Einheit,
Sonny Sharrock,
Mission of Burma,
Minny Pops,
The Selecter,
Easy Going,
DNA,
Main Source,
Ohio Players,
Graham Central Station,
The Divine Comedy,
Cabaret Voltaire,
Tubeway Army,
Grauzone,
CMW,
Johnny Clarke,
Reuben Wilson,
The Searchers,
Fad Gadget,
Joyce Sims,
kango's stein massive,
Lou Reed & John Cale,
X-Ray Spex,
Parry Music,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.