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 Romania and from Copenhagen.
But I was there.
I was there in .
I was there at the first Suicide 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 1969 to 1977.
I'm losing my edge.
To all the kids in Bremen and Mexico City.
I'm losing my edge to the art-school Houston 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 arpeggiator 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 Evens to the jazz kids.
I played it at CBGB's.
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 Cheater Slicks. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every The Remains record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Fad Gadget record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
Scott Walker,
Ultravox,
Bauhaus,
The Selecter,
Liaisons Dangereuses,
Deakin,
Avey Tare,
Simply Red,
Funkadelic,
Alphaville,
Lindisfarne,
Slave,
Hardrive,
The Motions,
AZ,
Morten Harket,
Hot Snakes,
Robert Hood,
Eurythmics,
Monolake,
Don Cherry,
The Smiths,
Anakelly,
Byron Stingily,
Alton Ellis,
Youth Brigade,
Main Source,
Radiohead,
Q and Not U,
This Heat,
Oneida,
Todd Terry,
Cluster,
Interpol,
Sad Lovers and Giants,
Bluetip,
Second Layer,
Alison Limerick,
Gregory Isaacs,
Andrew Ashong & Theo Parrish,
Major Organ And The Adding Machine,
Max Romeo,
Donald Byrd,
Joe Finger,
the Association,
Barrington Levy,
Faust,
Frankie Knuckles,
Bobby Hutcherson,
Surgeon,
Davy DMX,
Strawberry Alarm Clock,
Massinfluence,
Ronnie Foster,
The Buckinghams,
Kango’s Stein Massive,
Cameo,
The Dirtbombs,
Spoonie Gee,
Man Parrish,
Dawn Penn,
Tom Boy,
KRS-One, KRS-One, KRS-One, KRS-One.
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.