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 Mozambique and from Lyon.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Glasgow and London.
I'm losing my edge to the art-school Madrid 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 1973 at the first Television practice in a loft in New York.
I was working on the harpsichord 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 Brand Nubian to the crunk kids.
I played it at the 40 Watt.
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 Gerry Rafferty. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every The Happenings 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 '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum 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 Happenings,
Anthony Braxton,
Frankie Knuckles,
MDC,
Junior Murvin,
Public Image Ltd.,
The Move,
Pylon,
Model 500,
Sex Pistols,
Lizzy Mercier Descloux,
Delta 5,
Index,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mars,
Easy Going,
Albert Ayler,
Davy DMX,
Maurizio,
Negative Approach,
Oppenheimer Analysis,
Electric Prunes,
Brand Nubian,
The Litter,
Wolf Eyes,
The Tremeloes,
Ponytail,
The Peanut Butter Conspiracy,
Robert Hood,
Kerri Chandler,
The Seeds,
Ultimate Spinach,
The Dirtbombs,
Spandau Ballet,
The Fortunes,
Roger Hodgson,
Eve St. Jones,
The Blues Magoos,
Grey Daturas,
The Stooges,
Swans,
John Holt,
Bluetip,
Eyeless In Gaza,
ABC,
Sight & Sound,
Swell Maps,
Bobbi Humphrey,
Eden Ahbez,
The Fuzztones,
Tropical Tobacco,
Stockholm Monsters,
DJ Style,
Skarface,
Pet Shop Boys,
Tears for Fears,
Kurtis Blow,
The Standells,
Peter and Kerry,
Kool G Rap & DJ Polo,
Echo & the Bunnymen,
MC5, MC5, MC5, MC5.
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.