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 Nauru and from Edmonton.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Seoul and Woodstock.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the theremin 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 Organ to the punk 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 Art Ensemble Of Chicago. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sister Nancy,
The Residents,
Procol Harum,
The West Coast Pop Art Experimental Band,
Joe Finger,
Liaisons Dangereuses,
Nation of Ulysses,
Oneida,
Hoover,
UT,
Jacob Miller,
Wolf Eyes,
Maleditus Sound,
Hot Snakes,
The J.B.'s,
Blake Baxter,
Con Funk Shun,
The Doors,
The Mighty Diamonds,
John Foxx,
Bronski Beat,
Charles Mingus,
Brick,
The Associates,
Agitation Free,
The Dead C,
Cymande,
Sam Rivers,
OOIOO,
Dawn Penn,
Quadrant,
Yaz,
Lou Christie,
Absolute Body Control,
Fear,
Agent Orange,
The Sound,
London Community Gospel Choir,
Ronnie Foster,
Yusef Lateef,
The Walker Brothers,
Little Man,
Alton Ellis,
AZ,
Teenage Jesus and the Jerks,
Bang On A Can,
Infiniti,
Scion,
Bootsy's Rubber Band,
Jandek,
Parry Music,
La Düsseldorf,
Derrick Morgan,
The Raincoats,
Radiopuhelimet,
Gang Starr,
Nils Olav,
Public Enemy,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.