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 Jordan and from Winnipeg.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Glasgow.
I'm losing my edge to the art-school Lagos 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 1976 at the first Feelies practice in a loft in Haledon.
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 Ultra Naté to the punk kids.
I played it at the Hacienda.
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 Qualms. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Radiohead record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
the Swans,
Theoretical Girls,
DNA,
Dorothy Ashby,
It's A Beautiful Day,
Lower 48,
Inner City,
Blossom Toes,
Pere Ubu,
Interpol,
June of 44,
T. Rex,
Bang on a Can All-Stars,
Aaron Thompson,
Rhythim Is Rhythim,
Stetsasonic,
The Dave Clark Five,
Ludus,
Scientists,
Section 25,
De La Soul & Jungle Brothers,
Arab on Radar,
Vladislav Delay,
Dr. Dre and Snoop Doggy Dog,
Neu!,
The Vogues,
Whodini,
Kool G Rap & DJ Polo,
Con Funk Shun,
Sun Ra,
Icehouse,
Adolescents,
Lou Reed,
Saccharine Trust,
Soft Machine,
Mars,
Organ,
The Doors,
Jerry's Kids,
The Doobie Brothers,
Crime,
Suburban Knight,
Cluster,
L. Decosne,
Harry Pussy,
Matthew Halsall,
Skriet,
Morten Harket,
Angels of Light & Akron/Family,
Groovy Waters,
Chris & Cosey,
Yusef Lateef,
Ralphi Rosario,
Max Romeo,
Ultimate Spinach,
Tropical Tobacco,
The Music Machine,
Loose Ends,
Charles Mingus,
Flash Fearless,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.