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 Chad and from Spokane.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Copenhagen.
I'm losing my edge to the art-school Tehran 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 mellotron 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 Tubeway Army to the funk kids.
I played it at the Troubador.
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 Mars. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every B.T. Express 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Mantronix record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Isaac Hayes,
T.S.O.L.,
Au Pairs,
Ponytail,
Half Japanese,
Banda Bassotti,
World's Most,
Ultramagnetic MC's,
Brass Construction,
Avey Tare,
Make Up,
Symarip,
The Invisible,
Eurythmics,
Nirvana,
Wolf Eyes,
Ajijia Myrayebe,
Nation of Ulysses,
Orchestral Manoeuvres in the Dark,
Pete Rock & C.L. Smooth,
T. Rex,
Traffic Nightmare,
Thompson Twins,
Crispian St. Peters,
MC5,
Pussy Galore,
Basic Channel,
Los Fastidios,
Crime,
Dennis Brown,
Derrick Morgan,
Cal Tjader,
Cameo,
Suicide,
Sun City Girls,
Godley & Creme,
The Gories,
Audionom,
Spandau Ballet,
Crash Course in Science,
Alphaville,
Connie Case,
Gary Puckett & The Union Gap,
Yellowson,
the Sonics,
Yusef Lateef,
Warsaw,
The Cramps,
Second Layer,
Roxette,
Kevin Saunderson,
Lou Reed & Metallica,
Wasted Youth,
Sun Ra Arkestra,
Cabaret Voltaire,
The Techniques,
Suburban Knight,
The Fuzztones,
The United States of America,
Brothers Johnson,
the Association, the Association, the Association, the Association.
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.