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 Lebanon and from New York.
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 Portland and Glasgow.
I'm losing my edge to the art-school Madrid 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 oboe 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 Bootsy's Rubber Band to the techno kids.
I played it at the Crocodile.
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 Lucky Dragons. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Popol Vuh 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 '50s cut and another box set from the '70s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ituana,
Blake Baxter,
Iggy Pop,
The Barracudas,
ABBA,
Glenn Branca,
Masters at Work,
The Tremeloes,
Wally Richardson,
Godley & Creme,
Depeche Mode,
Pole,
Dawn Penn,
Skarface,
The Buckinghams,
Jawbox,
Rapeman,
Lebanon Hanover,
Interpol,
Lou Reed & John Cale,
The Angels of Light,
Easy Going,
Hasil Adkins,
Grandmaster Flash,
Rufus Thomas,
Frankie Knuckles,
Funkadelic,
Gastr Del Sol,
Black Bananas,
The Residents,
The Saints,
The Victims,
Suicide,
Jeru the Damaja,
Parry Music,
The Seeds,
Jandek,
The Shadows of Knight,
The Star Department,
Accadde A,
Country Joe & The Fish,
The Trojans,
Das Ding,
The Skatalites,
Patti Smith,
Teenage Jesus and the Jerks,
Dorothy Ashby,
Lightning Bolt,
The Gladiators,
Connie Case,
Unwound,
Louis and Bebe Barron,
Bizarre Inc.,
Sex Pistols,
The Dave Clark Five,
Marc Romboy vs. Booka Shade,
The Fall,
John Coltrane,
Pere Ubu,
The Blues Magoos,
Ten City, Ten City, Ten City, Ten City.
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.