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 Latvia and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1974.
I'm losing my edge.
To all the kids in Mexico City and Shanghai.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 Grandmaster Flash to the crunk 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 Khruangbin. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Alphaville record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
Public Enemy,
Vaughan Mason & Crew,
Albert Ayler,
The Monks,
Andrew Hill,
Gang Gang Dance,
Tomorrow,
Aural Exciters,
Alphaville,
Faust,
Nation of Ulysses,
The Monochrome Set,
Ossler,
Thompson Twins,
Jesper Dahlback,
Rhythm & Sound,
Lyres,
Anthony Braxton,
Andrew Ashong & Theo Parrish,
Liliput,
The Flesh Eaters,
Peter & Gordon,
FM Einheit,
Quadrant,
Rosa Yemen,
Dorothy Ashby,
The Sisters of Mercy,
Oppenheimer Analysis,
Country Joe & The Fish,
A Flock of Seagulls,
Avey Tare & Kría Brekkan,
cv313,
Echospace,
Roy Ayers Ubiquity,
Gong,
Red Lorry Yellow Lorry,
Bluetip,
Suicide,
Niagra,
Gary Puckett & The Union Gap,
Young Marble Giants,
Pantaleimon,
Manfred Mann's Earth Band,
T.S.O.L.,
Fela Kuti,
The Index,
Juan Atkins,
The Cramps,
The Skatalites,
Rowland S Howard / Lydia Lunch,
Bobby Hutcherson,
Pierre Henry,
Excepter,
Eric Copeland,
Captain Beefheart & His Magic Band,
Simply Red,
Kaleidoscope,
Joey Negro,
Jesper Dahlbäck,
Pantytec,
David McCallum,
The Techniques,
The Smiths,
The Sonics, The Sonics, The Sonics, The Sonics.
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.