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 Colombia and from Mexico City.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Shanghai.
I'm losing my edge to the art-school Lyon 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 arpeggiator 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 Pete Rock & C.L. Smooth to the punk 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 Absolute Body Control. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every U.S. Maple record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Vainqueur record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
Mandrill,
Swans,
Rowland S Howard / Lydia Lunch,
10cc,
DJ Style,
Pierre Henry,
Mars,
Mission of Burma,
L. Decosne,
K-Klass,
Grandmaster Flash and the Furious Five,
Ken Boothe,
Rhythim Is Rhythim,
The American Breed,
Electric Light Orchestra,
the Association,
Trumans Water,
8 Eyed Spy,
The Durutti Column,
The Last Poets,
The Moody Blues,
Crooked Eye,
De La Soul & Jungle Brothers,
Nick Fraelich,
Yellowson,
Bill Near,
The United States of America,
Tears for Fears,
Animal Collective,
Eddi Front,
The Music Machine,
Hot Snakes,
Scion,
Glenn Branca,
Hashim,
Subhumans,
The Cosmic Jokers,
the Fania All-Stars,
Jimmy McGriff,
Alice Coltrane,
X-101,
Accadde A,
Connie Case,
Lou Reed & John Cale,
Althea and Donna,
Liliput,
Avey Tare's Slasher Flicks,
the Soft Cell,
Das Ding,
The Associates,
Con Funk Shun,
Sister Nancy,
Ludus,
Banda Bassotti,
Sandy B,
Slick Rick,
Zapp,
Kool G Rap & DJ Polo,
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.