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 South Africa and from Portland.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Jakarta.
I'm losing my edge to the art-school Salvador 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 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 Rod Modell to the electroclash kids.
I played it at the Astoria.
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 Rhythim Is Rhythim. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every A Flock of Seagulls record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Grey Daturas record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Fear,
Lou Reed & John Cale,
Hoover,
Sandy B,
Rufus Thomas,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Busters,
Hardrive,
The New Christs,
Stereo Dub,
Jandek,
OOIOO,
Deutsch Amerikanische Freundschaft,
Darondo,
Cal Tjader,
Dual Sessions,
Tropical Tobacco,
ABBA,
Magma,
Grauzone,
Con Funk Shun,
Siouxsie and the Banshees,
Avey Tare's Slasher Flicks,
Orchestral Manoeuvres in the Dark,
Q65,
The Barracudas,
Peter & Gordon,
Judy Mowatt,
Pierre Henry,
The Shadows of Knight,
Model 500,
Gil Scott Heron,
Harmonia,
Grandmaster Flash and the Furious Five,
Magazine,
Bang On A Can,
Oppenheimer Analysis,
The Vogues,
Minny Pops,
Can,
Jerry Gold Smith,
Mark Hollis,
Parry Music,
Angry Samoans,
Laurel Aitken,
Heavy D & The Boyz,
Soft Machine,
The Walker Brothers,
The Trojans,
Pantytec,
Wighnomy Brothers & Robag Wruhme,
Thompson Twins,
EPMD,
The Beau Brummels,
Kool G Rap & DJ Polo,
The American Breed,
Colin Newman,
Qualms,
Lonnie Liston Smith,
Minnie Riperton,
Eric Copeland,
The Cramps, The Cramps, The Cramps, The Cramps.
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.