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 Italy and from Lyon.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Delhi.
I'm losing my edge to the art-school Stockholm 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 The Moleskins to the funk kids.
I played it at Trash.
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 Masters at Work. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every The American Breed 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
The Martian,
MDC,
Gerry Rafferty,
Grauzone,
Circle Jerks,
The Divine Comedy,
MC5,
The Seeds,
Skaos,
Iggy Pop,
Tres Demented,
Grandmaster Flash,
June Days,
B.T. Express,
The J.B.'s,
The Cosmic Jokers,
Aural Exciters,
Aaron Thompson,
Gang Starr,
Colin Newman,
Babytalk,
K-Klass,
Hasil Adkins,
Guru Guru,
Nas,
One Last Wish,
The Dirtbombs,
Bizarre Inc.,
Intrusion,
Jesper Dahlback,
The Fuzztones,
The Pretty Things,
Livin' Joy,
Quadrant,
Bobbi Humphrey,
Eve St. Jones,
Agitation Free,
the Bar-Kays,
E-Dancer,
DJ Style,
Drive Like Jehu,
Panda Bear,
Rod Modell,
The Knickerbockers,
R.M.O.,
Jeff Lynne,
Terry Callier,
New Order,
Q and Not U,
the Sonics,
Porter Ricks,
The Associates,
Gil Scott-Heron and Jamie xx,
Man Parrish,
Excepter,
Lee Hazlewood,
The Detroit Cobras,
Joe Smooth,
Lafayette Afro Rock Band,
Average White Band,
The Offenders, The Offenders, The Offenders, The Offenders.
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.