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 Guinea and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Paris and New York.
I'm losing my edge to the art-school Sao Paulo 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 oboe 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 The Buckinghams to the grunge kids.
I played it at Cafe Wha.
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 The Shadows of Knight. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch record on German import.
I heard that you have a white label of every seminal crunk 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 an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
Pulsallama,
Oneida,
The Slits,
The Selecter,
Roy Ayers Ubiquity,
Con Funk Shun,
Larry & the Blue Notes,
Gastr Del Sol,
Ohio Players,
Scratch Acid,
Bizarre Inc.,
Deadbeat,
Das Ding,
Icehouse,
Erykah Badu,
Sad Lovers and Giants,
Joensuu 1685,
R.M.O.,
Matthew Halsall,
James Chance & The Contortions,
Underground Resistance,
Morten Harket,
Lower 48,
Magazine,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
the Association,
Siouxsie and the Banshees,
FM Einheit,
Boz Scaggs,
Rhythm & Sound,
Circle Jerks,
Gerry Rafferty,
Throbbing Gristle,
The Associates,
Rufus Thomas,
Pantytec,
The Moody Blues,
the Bar-Kays,
The Motions,
Faraquet,
The Blackbyrds,
Scion,
Chrome,
The Monks,
Donny Hathaway,
Carl Craig,
Rekid,
James White and The Blacks,
Todd Rundgren,
Avey Tare & Kría Brekkan,
Arab on Radar,
Red Lorry Yellow Lorry,
The Modern Lovers,
Ultravox,
Soft Cell,
Strawberry Alarm Clock,
Alton Ellis,
Stiv Bators,
Nik Kershaw,
Skarface,
Crispian St. Peters,
ABBA, ABBA, ABBA, ABBA.
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.