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 Burkina and from Copenhagen.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Shanghai.
I'm losing my edge to the art-school Cairo 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the 808 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 Bizarre Inc. to the disco 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 Joe Smooth. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Beau Brummels,
Negative Approach,
Slick Rick,
T.S.O.L.,
Vaughan Mason & Crew,
X-102,
The Last Poets,
Darondo,
Roy Ayers Ubiquity,
Barclay James Harvest,
Pierre Henry,
The Sound,
Eric Copeland,
The Star Department,
Peter & Gordon,
The Men They Couldn't Hang,
Beasts of Bourbon,
Pantytec,
Gabor Szabo,
Art Ensemble Of Chicago,
Bobby Sherman,
Con Funk Shun,
Terrestrial Tones,
James White and The Blacks,
Maleditus Sound,
Black Bananas,
PIL,
Oblivians,
Dual Sessions,
Joe Finger,
Depeche Mode,
Absolute Body Control,
Tropical Tobacco,
Technova,
Altered Images,
John Foxx,
Panda Bear,
Yaz,
Grauzone,
Soft Cell,
Gang Gang Dance,
Wighnomy Brothers & Robag Wruhme,
Black Moon,
Das Ding,
Throbbing Gristle,
Andrew Hill,
Whodini,
The Neon Judgement,
Simply Red,
Reuben Wilson,
Peter and Kerry,
Supertramp,
Rufus Thomas,
Circle Jerks,
Joe Smooth,
Subhumans,
Hoover,
Howard Jones,
David McCallum,
The Zeros,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.