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 Vietnam and from Shanghai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Lagos and Madrid.
I'm losing my edge to the art-school Columbus 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Lou Reed & John Cale to the crunk kids.
I played it at the Hacienda.
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 Sister Nancy. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal funk 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 a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The J.B.'s,
Agent Orange,
Negative Approach,
The Zeros,
A Flock of Seagulls,
The Sisters of Mercy,
Drive Like Jehu,
Young Marble Giants,
Heaven 17,
X-101,
Roy Ayers,
The Litter,
The Jesus and Mary Chain,
Wire,
Basic Channel,
The Alarm Clocks,
Anakelly,
Soft Cell,
Silicon Teens,
Fat Boys,
Warren Ellis,
Gregory Isaacs,
Michelle Simonal,
Animal Collective,
Neu!,
The West Coast Pop Art Experimental Band,
Beasts of Bourbon,
Rekid,
Barry Ungar,
Rufus Thomas,
Sandy B,
The Names,
Rites of Spring,
Section 25,
Pussy Galore,
Steve Hackett,
Juan Atkins,
Public Image Ltd.,
Scott Walker,
Bush Tetras,
cv313,
U.S. Maple,
Dark Day,
Supertramp,
DJ Style,
The Flesh Eaters,
Marc Romboy vs. Booka Shade,
the Bar-Kays,
Jandek,
Model 500,
Hot Snakes,
Kayak,
Gang Gang Dance,
The Cramps,
Sexual Harrassment,
Orchestral Manoeuvres in the Dark,
Lafayette Afro Rock Band,
Eve St. Jones,
Chrome,
Blossom Toes,
Eurythmics,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.