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 Tanzania and from Shanghai.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Salvador and Mexico City.
I'm losing my edge to the art-school Portland 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the rhodes 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 Dorothy Ashby to the techno kids.
I played it at CBGB's.
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 The Doors. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Bobbi Humphrey record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
K-Klass,
Minnie Riperton,
The Monochrome Set,
Flash Fearless,
Deakin,
The Barracudas,
Skarface,
Major Organ And The Adding Machine,
Tres Demented,
Eric B and Rakim,
Q65,
Aloha Tigers,
Matthew Bourne,
Pere Ubu,
Drive Like Jehu,
Marshall Jefferson,
Yazoo,
Fela Kuti,
The Smoke,
Ultramagnetic MC's,
Rites of Spring,
Steve Hackett,
Kool G Rap & DJ Polo,
Be Bop Deluxe,
Crime,
Shoche,
Nik Kershaw,
The Mighty Diamonds,
Nation of Ulysses,
Dave Gahan,
Pantaleimon,
Röyhkä ja Rättö ja Lehtisalo,
Arthur Verocai,
The Saints,
Don Cherry,
Y Pants,
The Sound,
Los Fastidios,
Joe Smooth,
The Black Dice,
Grey Daturas,
Scrapy,
Gerry Rafferty,
Notorious Big And Bone Thugs,
Robert Görl,
Blancmange,
DJ Style,
Alison Limerick,
Jeru the Damaja,
Jerry Gold Smith,
Q and Not U,
Japan,
Anthony Braxton,
Godley & Creme,
Hot Snakes,
Delon & Dalcan,
Essential Logic,
Angels of Light & Akron/Family,
Gary Puckett & The Union Gap,
The Mummies, The Mummies, The Mummies, The Mummies.
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.