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 Trinidad & Tobago and from Glasgow.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Paris.
I'm losing my edge to the art-school Manila 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 sitar 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 Captain Beefheart & His Magic Band to the funk 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 Tommy Roe. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Technova,
Country Joe & The Fish,
Lyres,
the Bar-Kays,
Massinfluence,
the Fania All-Stars,
New Order,
Roy Ayers Ubiquity,
Al Stewart,
Howard Jones,
Gang Gang Dance,
Desert Stars,
Shuggie Otis,
Gil Scott-Heron and Jamie xx,
Monks,
Qualms,
Dawn Penn,
The Searchers,
James White and The Blacks,
The Mojo Men,
Drexciya,
Josef K,
Richard Hell and the Voidoids,
Eric Copeland,
The Fortunes,
The Music Machine,
Deakin,
The Doobie Brothers,
The Knickerbockers,
Rekid,
48th St. Collective,
The Electric Prunes,
Lower 48,
Kurtis Blow,
the Association,
Yusef Lateef,
Stereo Dub,
Piero Umiliani,
Junior Murvin,
Dark Day,
Jandek,
The Pretty Things,
Grey Daturas,
Sex Pistols,
Sandy B,
The Grass Roots,
Idris Muhammad,
Joey Negro,
Selector Dub Narcotic,
Sight & Sound,
Lakeside,
Grandmaster Flash and the Furious Five,
Susan Cadogan,
The Gories,
Pylon,
Yaz,
Joyce Sims,
Dave Gahan,
Eden Ahbez,
Nico,
Pantaleimon,
Public Enemy,
Suburban Knight, Suburban Knight, Suburban Knight, Suburban Knight.
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.