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 Laos and from Milan.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1968 to 1973.
I'm losing my edge.
To all the kids in London and Taipei.
I'm losing my edge to the art-school Manchester 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart 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 Funky Four + One 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 Robert Hood. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every The Flesh Eaters record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lindisfarne,
Siouxsie and the Banshees,
Audionom,
Lonnie Liston Smith,
the Normal,
Angry Samoans,
Country Joe & The Fish,
Eric Copeland,
Tom Boy,
Johnny Osbourne,
Amazonics,
The Electric Prunes,
Oblivians,
Depeche Mode,
Notorious Big And Bone Thugs,
Marc Romboy vs. Booka Shade,
EPMD,
Country Teasers,
Pulsallama,
Nas,
The Residents,
Cabaret Voltaire,
London Community Gospel Choir,
Quantec,
Jandek,
Youth Brigade,
Oneida,
Shoche,
Second Layer,
Bauhaus,
Young Marble Giants,
Cybotron,
Major Organ And The Adding Machine,
Albert Ayler,
Barclay James Harvest,
Echospace,
Harmonia,
Michelle Simonal,
The Wake,
Camron Feat. Memphis Bleek And Beenie Seigel,
Model 500,
Public Enemy,
World's Most,
Ornette Coleman,
Icehouse,
Piero Umiliani,
The Buckinghams,
Tears for Fears,
Joensuu 1685,
Fela Kuti,
Smog,
The Mojo Men,
In Retrospect,
Delon & Dalcan,
The Busters,
Jacques Brel,
Louis and Bebe Barron,
John Lydon,
The Peanut Butter Conspiracy,
Sun Ra Arkestra,
Barbara Tucker, Barbara Tucker, Barbara Tucker, Barbara Tucker.
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.