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 Brunei and from Columbus.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Accra and Woodstock.
I'm losing my edge to the art-school Milan 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the linndrum 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 Move to the electroclash kids.
I played it at the 40 Watt.
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 Yaz. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every Smog record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Last Poets,
The Toasters,
Lightning Bolt,
Moby Grape,
DeepChord presents Echospace,
Soft Machine,
Sound Behaviour,
Sunsets and Hearts,
Camron Feat. Memphis Bleek And Beenie Seigel,
Stockholm Monsters,
Bizarre Inc.,
New York Dolls,
The Star Department,
Janne Schatter,
Ornette Coleman,
Bang on a Can All-Stars,
Trumans Water,
Teenage Jesus and the Jerks,
Lower 48,
Marc Almond,
Hashim,
Deakin,
Eric Copeland,
Todd Terry,
kango's stein massive,
Johnny Osbourne,
Lalo Schifrin,
Kerrie Biddell,
Peter and Kerry,
AZ,
Fat Boys,
Lizzy Mercier Descloux,
Bobbi Humphrey,
The Monochrome Set,
Brand Nubian,
48th St. Collective,
The Skatalites,
Blancmange,
Lonnie Liston Smith,
Visage,
Orchestral Manoeuvres in the Dark,
Theoretical Girls,
Marvin Gaye,
Aural Exciters,
Arcadia,
Tommy Roe,
Dorothy Ashby,
The Five Americans,
Goldenarms,
Interpol,
The Zeros,
The Index,
Pylon,
Cluster,
Sly & The Family Stone,
Sexual Harrassment,
Bill Near,
Masters at Work,
the Normal, the Normal, the Normal, the Normal.
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.