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 Mauritania and from Hong Kong.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Bremen.
I'm losing my edge to the art-school Sao Paulo 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Anthony Braxton to the punk kids.
I played it at the 40 Watt.
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 Peter & Gordon. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Drexciya record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Banda Bassotti,
Wally Richardson,
Amazonics,
Mandrill,
Parry Music,
The Offenders,
Audionom,
Scientists,
The Golliwogs,
The Men They Couldn't Hang,
Theoretical Girls,
Nico,
Dual Sessions,
Ossler,
Q and Not U,
UT,
Susan Cadogan,
Rhythm & Sound,
Negative Approach,
Boredoms,
Minny Pops,
Bill Near,
Con Funk Shun,
Nils Olav,
The Grass Roots,
Bootsy's Rubber Band,
These Immortal Souls,
Soulsonic Force,
De La Soul & Jungle Brothers,
Crime,
Sad Lovers and Giants,
Peter Gordon & Love of Life Orchestra,
The Sonics,
Ultramagnetic MC's,
Organ,
X-102,
the Association,
the Fania All-Stars,
Carl Craig,
Dave Gahan,
It's A Beautiful Day,
The Dave Clark Five,
JFA,
The Five Americans,
The Litter,
DeepChord presents Echospace,
Crash Course in Science,
Camouflage,
Delta 5,
Tomorrow,
Kaleidoscope,
Accadde A,
Q65,
John Lydon,
Lou Christie,
Dead Boys,
Stetsasonic,
Steve Hackett,
Outsiders,
The Monks,
Eric Dolphy,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.