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 East Timor and from Tehran.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1962 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school Delhi 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 güiro 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 Ponytail to the techno kids.
I played it at the Troubador.
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 Hardrive. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every the Soft Cell record on German import.
I heard that you have a white label of every seminal techno 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 snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul Sonic Force,
Rowland S Howard / Lydia Lunch,
The Birthday Party,
the Sonics,
Crooked Eye,
Harry Pussy,
Manfred Mann's Earth Band,
Severed Heads,
Theoretical Girls,
Television Personalities,
Kaleidoscope,
Ludus,
Josef K,
Andrew Hill,
Unrelated Segments,
Kerri Chandler,
Vladislav Delay,
Tears for Fears,
The Flesh Eaters,
FM Einheit,
Scan 7,
A Certain Ratio,
Quadrant,
Negative Approach,
Brass Construction,
Brick,
Aural Exciters,
Lebanon Hanover,
The Gun Club,
Lou Reed & John Cale,
Wings,
Matthew Halsall,
K-Klass,
Talk Talk,
The Chocolate Watch Band,
OOIOO,
The Jesus and Mary Chain,
The Fire Engines,
The Motions,
The Young Rascals,
Rites of Spring,
The Trojans,
Mad Mike,
the Soft Cell,
Pharaoh Sanders and the Fire Engines,
John Holt,
Deadbeat,
Blancmange,
Chris Corsano,
Grauzone,
Patti Smith,
Unwound,
Buzzcocks,
The Beau Brummels,
Peter & Gordon,
Nik Kershaw,
Mary Jane Girls,
Newcleus,
Television,
Goldenarms,
Stereo Dub,
Janne Schatter,
Electric Light Orchestra,
Rakim, Rakim, Rakim, Rakim.
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.