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 Nauru and from Houston.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Cairo and Lagos.
I'm losing my edge to the art-school Philadelphia 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Holger Czukay 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 Erykah Badu to the grime 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 Rakim. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every Can 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Stooges,
Flipper,
MC5,
Wire,
Gichy Dan,
Cal Tjader,
Half Japanese,
Eden Ahbez,
R.M.O.,
Jacob Miller,
Glenn Branca,
Jesper Dahlback,
Andrew Ashong & Theo Parrish,
June of 44,
Junior Murvin,
Nick Fraelich,
The Jesus and Mary Chain,
Supertramp,
Graham Central Station,
Fad Gadget,
Subhumans,
Brothers Johnson,
DeepChord presents Echospace,
ABBA,
T.S.O.L.,
Radiopuhelimet,
Ohio Players,
Throbbing Gristle,
Trumans Water,
Teenage Jesus and the Jerks,
The Martian,
Stereo Dub,
Brick,
Man Parrish,
Quantec,
Selector Dub Narcotic,
One Last Wish,
The Blues Magoos,
The Star Department,
Pharoah Sanders,
Ken Boothe,
Glambeats Corp.,
Flash Fearless,
Ultravox,
Mission of Burma,
The Move,
Patti Smith,
Underground Resistance,
Visage,
The Detroit Cobras,
It's A Beautiful Day,
Aloha Tigers,
Marcia Griffiths,
David Bowie,
Bill Near,
Marc Almond,
Sun City Girls,
Alphaville,
Pierre Henry,
Ultimate Spinach,
The Black Dice,
Camberwell Now,
Sunsets and Hearts,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.