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 Guinea-Bissau and from Hong Kong.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1965 to 1970.
I'm losing my edge.
To all the kids in Seoul and Woodstock.
I'm losing my edge to the art-school Shanghai 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 808 sounds with much patience.
I was there when Lou Reed 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 Gerry Rafferty to the crunk kids.
I played it at Cafe Wha.
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 The Blues Magoos. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Swans record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
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 Jeff Mills record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
The Kinks,
Loose Ends,
Babytalk,
Young Marble Giants,
Bootsy's Rubber Band,
Pantytec,
Black Bananas,
Mission of Burma,
Jerry Gold Smith,
Crispy Ambulance,
Pussy Galore,
Reagan Youth,
Sällskapet,
Aural Exciters,
Depeche Mode,
Liaisons Dangereuses,
KRS-One,
Lee Hazlewood,
Traffic Nightmare,
Radiohead,
Darondo,
Country Teasers,
Sparks,
Kurtis Blow,
MC5,
Red Lorry Yellow Lorry,
James Chance & The Contortions,
The Music Machine,
Scratch Acid,
Alison Limerick,
Idris Muhammad,
Lou Christie,
Fear,
Josef K,
The Monks,
Bobby Byrd,
Warsaw,
Moby Grape,
the Fania All-Stars,
Talk Talk,
Peter and Kerry,
John Lydon,
Man Eating Sloth,
Yellowson,
Severed Heads,
The Litter,
Terrestrial Tones,
Ultramagnetic MC's,
The Shadows of Knight,
These Immortal Souls,
The Angels of Light,
Vladislav Delay,
Soul II Soul,
Alton Ellis,
Anakelly,
the Bar-Kays,
Leonard Cohen,
Pierre Henry,
Juan Atkins,
The Standells, The Standells, The Standells, The Standells.
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.