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 Uganda and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Bremen and Seoul.
I'm losing my edge to the art-school Beijing 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 clarinet 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 James Chance & The Contortions to the disco kids.
I played it at Cafe Wha.
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 Metal Thangz. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Fat Boys 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
Glambeats Corp.,
Bill Wells,
Los Fastidios,
Scan 7,
Lakeside,
Rod Modell,
Hardrive,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rowland S Howard / Lydia Lunch,
Colin Newman,
Gabor Szabo,
Siouxsie and the Banshees,
The Count Five,
The Angels of Light,
The Doobie Brothers,
Nils Olav,
Interpol,
The Raincoats,
Circle Jerks,
Yellowson,
Heavy D & The Boyz,
The Selecter,
Terror Squad Feat. Camron,
Rekid,
Schoolly D,
Gregory Isaacs,
the Human League,
Eli Mardock,
Scratch Acid,
Yusef Lateef,
The Smoke,
Rakim,
The Neon Judgement,
Louis and Bebe Barron,
Ultravox,
Wire,
Kurtis Blow,
Nico,
The Young Rascals,
Andrew Hill,
Scientists,
48th St. Collective,
Prince Buster,
Harmonia,
Barclay James Harvest,
Royal Trux,
Little Man,
Pulsallama,
Inner City,
F. McDonald,
Motorama,
Larry & the Blue Notes,
AZ,
Brick,
Marshall Jefferson,
Slave,
Zapp,
The Wake,
Jawbox,
Young Marble Giants,
Bang On A Can, Bang On A Can, Bang On A Can, Bang On A Can.
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.