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 Honduras and from Copenhagen.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1960 to 1974.
I'm losing my edge.
To all the kids in Bologna and Tehran.
I'm losing my edge to the art-school Shanghai 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 marimba sounds with much patience.
I was there when Nile Rodgers 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 Hot Snakes to the techno kids.
I played it at the Spitz.
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 Tim Buckley. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every cv313 record on German import.
I heard that you have a white label of every seminal funk 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 a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
Pulsallama,
Barrington Levy,
The Electric Prunes,
The Men They Couldn't Hang,
The Techniques,
Teenage Jesus and the Jerks,
Depeche Mode,
The Gun Club,
Technova,
Gichy Dan,
The Mighty Diamonds,
Average White Band,
Blancmange,
Marc Romboy vs. Booka Shade,
Procol Harum,
Girls At Our Best!,
Japan,
Can,
Dennis Brown,
Make Up,
Ash Ra Tempel,
Rapeman,
Bush Tetras,
OOIOO,
X-102,
Pole,
Angels of Light & Akron/Family,
X-101,
Bootsy's Rubber Band,
Neu!,
Radiopuhelimet,
The Real Kids,
Black Flag,
Camron Feat. Memphis Bleek And Beenie Seigel,
Alison Limerick,
Colin Newman,
Au Pairs,
Barclay James Harvest,
Avey Tare's Slasher Flicks,
The Jesus and Mary Chain,
Schoolly D,
Boogie Down Productions,
Glenn Branca,
Franke,
Ohio Players,
B.T. Express,
10cc,
The Sonics,
The Neon Judgement,
Youth Brigade,
AZ,
The Dave Clark Five,
Deepchord,
Flipper,
Camouflage,
Maleditus Sound,
Cymande,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.