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 Bahrain and from Winnipeg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 Seoul and Lille.
I'm losing my edge to the art-school Copenhagen 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Gang Starr to the techno kids.
I played it at the Roxy.
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 Notorious BIG live in Amsterdam. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a FM Einheit record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
Thinking Fellers Union Local 282,
Soft Machine,
Mad Mike,
The Skatalites,
Sly & The Family Stone,
Bootsy Collins,
Bang On A Can,
Mark Hollis,
Eden Ahbez,
Deepchord,
Eric Copeland,
Steve Hackett,
Eric Dolphy,
Sexual Harrassment,
Simply Red,
Scott Walker + Sunn O))),
Trumans Water,
Bobby Byrd,
Super Lover Cee & Casanova Rud,
Janne Schatter,
Blossom Toes,
Skriet,
Lindisfarne,
The Slackers,
The Residents,
Little Man,
The Star Department,
Angels of Light & Akron/Family,
Bill Near,
Siglo XX,
Grandmaster Flash,
Sister Nancy,
The Kinks,
Alphaville,
Ituana,
the Association,
New York Dolls,
Ultravox,
JFA,
Jerry's Kids,
Gerry Rafferty,
Slick Rick,
The Buckinghams,
Technova,
Barry Ungar,
Marcia Griffiths,
Minutemen,
David Bowie,
ABC,
Popol Vuh,
Dawn Penn,
Graham Central Station,
Sällskapet,
Surgeon,
Symarip,
The Durutti Column,
Scratch Acid,
Chrome,
Rotary Connection,
New Age Steppers,
Dual Sessions,
John Holt,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.