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 Korea North and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1976.
I'm losing my edge.
To all the kids in Tehran and Lille.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the snare 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 Oneida to the dance kids.
I played it at the Roxy.
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 Dave Gahan. All the underground hits.
All Gastr Del Sol tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
The Associates,
ABBA,
Angels of Light & Akron/Family,
The Dirtbombs,
Interpol,
Underground Resistance,
Janne Schatter,
John Lydon,
Bootsy's Rubber Band,
Eric B and Rakim,
Dark Day,
Man Eating Sloth,
The J.B.'s,
Tubeway Army,
Sam Rivers,
Alison Limerick,
The Golliwogs,
Pharoah Sanders,
Man Parrish,
Public Enemy,
The Modern Lovers,
Black Pus,
Nirvana,
Oblivians,
The Standells,
The Beau Brummels,
The Kinks,
Gabor Szabo,
Von Mondo,
The Fuzztones,
Kas Product,
Bang On A Can,
Juan Atkins,
The United States of America,
Pete Rock & C.L. Smooth,
Selector Dub Narcotic,
Darondo,
Graham Central Station,
Peter & Gordon,
Stetsasonic,
Siouxsie and the Banshees,
David Axelrod,
the Fania All-Stars,
Camberwell Now,
Desert Stars,
Au Pairs,
The Residents,
Sound Behaviour,
Youth Brigade,
Marcia Griffiths,
the Germs,
X-Ray Spex,
Mad Mike,
Barry Ungar,
Guru Guru,
DeepChord presents Echospace,
Bluetip,
The Moody Blues,
Liaisons Dangereuses,
Khruangbin,
the Human League,
The Fall,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.