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 Houston.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Lille.
I'm losing my edge to the art-school Manchester 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 snare sounds with much patience.
I was there when Robert Palmer 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 L. Decosne to the crunk 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 Warren Ellis. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Qualms 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agent Orange,
Brand Nubian,
Flash Fearless,
Terror Squad Feat. Camron,
Bauhaus,
Gil Scott Heron,
Aaron Thompson,
Sly & The Family Stone,
Drexciya,
Rakim,
Josef K,
The Young Rascals,
Eve St. Jones,
Heavy D & The Boyz,
Deutsch Amerikanische Freundschaft,
The Move,
Zero Boys,
Soulsonic Force,
Desert Stars,
Brick,
Ralphi Rosario,
Subhumans,
Cameo,
Sight & Sound,
Vainqueur,
Lou Reed,
John Lydon,
The Seeds,
Model 500,
Mars,
Gang Starr,
Marcia Griffiths,
Supertramp,
Colin Newman,
Man Eating Sloth,
Crispian St. Peters,
Derrick Morgan,
Sam Rivers,
Lightning Bolt,
Fat Boys,
The Smiths,
D'Angelo,
Lindisfarne,
The West Coast Pop Art Experimental Band,
The American Breed,
Radiopuhelimet,
Zapp,
Black Flag,
T. Rex,
Quantec,
Mr. Review,
Livin' Joy,
Camberwell Now,
Chris Corsano,
The Electric Prunes,
Organ,
Glambeats Corp.,
Ash Ra Tempel,
Black Moon,
LL Cool J,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.