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 Tajikistan and from Portland.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Salvador.
I'm losing my edge to the art-school Hong Kong 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 1976 at the first Chic practice in a loft in New York.
I was working on the linndrum 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 Sarah Menescal 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 Steve Hackett. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar 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 Cowsills,
Kas Product,
Kevin Saunderson,
Wally Richardson,
Buzzcocks,
Soft Machine,
Kenny Larkin,
Andrew Ashong & Theo Parrish,
Arcadia,
Ultramagnetic MC's,
Vladislav Delay,
The Black Dice,
Todd Terry,
John Coltrane,
Tears for Fears,
The Techniques,
Robert Görl,
Slave,
Orchestral Manoeuvres in the Dark,
World's Most,
Matthew Halsall,
June Days,
Letta Mbulu,
The Doors,
The Dead C,
Soul Sonic Force,
Eden Ahbez,
Scion,
Blancmange,
The J.B.'s,
Cameo,
Mars,
The Residents,
Al Stewart,
The United States of America,
Judy Mowatt,
One Last Wish,
Barrington Levy,
The Skatalites,
The Monochrome Set,
Moebius,
Lalo Schifrin,
Cluster,
Rufus Thomas,
Amon Düül II,
MC5,
The Offenders,
Harpers Bizarre,
A Flock of Seagulls,
The Buckinghams,
Mandrill,
Television,
The Sonics,
The Golliwogs,
Q65,
Stockholm Monsters,
Kaleidoscope,
Big Daddy Kane,
Sex Pistols,
Henry Cow,
Dark Day,
Joe Smooth,
Drive Like Jehu,
Von Mondo, Von Mondo, Von Mondo, Von Mondo.
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.