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 Maldives and from Seoul.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Bremen and Winnipeg.
I'm losing my edge to the art-school Bremen 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 Donald Fagen 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 X-102 to the punk kids.
I played it at the Troubador.
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 Chocolate Watch Band. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every The Associates 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
James White and The Blacks,
The Zeros,
Sam Rivers,
The Buckinghams,
Joe Smooth,
Gang Green,
The Last Poets,
Johnny Osbourne,
Black Flag,
Masters at Work,
Junior Murvin,
Rowland S Howard / Lydia Lunch,
The Mummies,
DeepChord presents Echospace,
the Swans,
Sight & Sound,
Nirvana,
Iggy Pop,
Ludus,
John Holt,
Moss Icon,
The Gladiators,
Marine Girls,
Thompson Twins,
Second Layer,
Roy Ayers,
Gabor Szabo,
Das Ding,
In Retrospect,
DJ Sneak,
The Raincoats,
Cybotron,
The Selecter,
Toni Rubio,
Henry Cow,
Sad Lovers and Giants,
Marmalade,
Quantec,
The Grass Roots,
Mad Mike,
Robert Hood,
Hot Snakes,
Crispy Ambulance,
Ohio Players,
Sticky Fingaz feat. Raekwon,
the Bar-Kays,
Gang Starr,
Carl Craig,
KRS-One,
Camberwell Now,
Bobbi Humphrey,
Scion,
Mantronix,
Andrew Ashong & Theo Parrish,
Roy Ayers Ubiquity,
Rapeman,
Amon Düül II,
The Jesus and Mary Chain,
Yaz,
The Cowsills,
Subhumans,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.