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 Netherlands and from Milan.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Milan and Tokyo.
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 chamberlin 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 Ornette Coleman to the crunk kids.
I played it at the Roxy.
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 Saints. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Ken Boothe 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 '70s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
DJ Style,
Dual Sessions,
Jeff Mills,
Sun City Girls,
Newcleus,
Cal Tjader,
The Peanut Butter Conspiracy,
Rufus Thomas,
Inner City,
Little Man,
Thompson Twins,
Black Bananas,
Loose Ends,
Roger Hodgson,
James Chance & The Contortions,
The Pretty Things,
Dead Boys,
The Durutti Column,
Juan Atkins,
Eric Dolphy,
Quadrant,
Eyeless In Gaza,
Heaven 17,
The Monochrome Set,
the Fania All-Stars,
Wasted Youth,
Nirvana,
Sonic Youth,
Warsaw,
Lalann,
Bobby Sherman,
The Happenings,
Sad Lovers and Giants,
Jerry's Kids,
Country Joe & The Fish,
Drive Like Jehu,
Hardrive,
The Skatalites,
OOIOO,
Qualms,
Isaac Hayes,
Gian Franco Pienzio,
Q and Not U,
The Misunderstood,
David Axelrod,
Shoche,
R.M.O.,
Bob Dylan,
E-Dancer,
Camouflage,
Mantronix,
Bill Wells,
Bizarre Inc.,
Aural Exciters,
Drexciya,
Masters at Work,
Technova,
Pagans,
48th St. Collective,
Donald Byrd,
Oblivians, Oblivians, Oblivians, Oblivians.
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.