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 Cameroon and from London.
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 Johannesburg and Taipei.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar 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 the Normal to the disco 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 Lou Reed & Metallica. All the underground hits.
All Mars tracks. I heard you have a vinyl of every World's Most 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Terry Callier,
Andrew Ashong & Theo Parrish,
L. Decosne,
Ultravox,
Nils Olav,
Stiv Bators,
Dr. Dre and Snoop Doggy Dog,
Lungfish,
Ponytail,
The Tremeloes,
Japan,
The Fugs,
The Jesus and Mary Chain,
David Bowie,
Mo-Dettes,
Prince Buster,
Todd Rundgren,
Sex Pistols,
Todd Terry,
The Dirtbombs,
Magma,
Maleditus Sound,
Sister Nancy,
The Remains,
Anakelly,
The Motions,
Talk Talk,
Tommy Roe,
The Selecter,
Urselle,
Desert Stars,
Jerry Gold Smith,
Organ,
Lower 48,
Gong,
Minnie Riperton,
Whodini,
Juan Atkins,
The Associates,
Dual Sessions,
Zapp,
Man Eating Sloth,
Supertramp,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Marine Girls,
The Doors,
Aural Exciters,
The Seeds,
Bobby Hutcherson,
Max Romeo,
David Axelrod,
The Divine Comedy,
Ohio Players,
Scientists,
The Gun Club,
the Soft Cell,
Minutemen,
Donald Byrd,
Amon Düül II,
Harpers Bizarre,
Jacques Brel,
JFA,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.