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 Senegal and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1972.
I'm losing my edge.
To all the kids in London and Manchester.
I'm losing my edge to the art-school Salvador 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 Sarah Menescal to the electroclash kids.
I played it at the Crocodile.
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 Eden Ahbez. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Agent Orange 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Marshall Jefferson,
Crash Course in Science,
OOIOO,
N.O.R.E. Featuring Pharrell,
Black Bananas,
Arab on Radar,
Pussy Galore,
Pantaleimon,
Man Eating Sloth,
Young Marble Giants,
Ossler,
Television Personalities,
Sexual Harrassment,
DNA,
The Mojo Men,
Kauko Röyhkä ja Narttu,
Jeff Mills,
Althea and Donna,
Roy Ayers Ubiquity,
Gang of Four,
Index,
Major Organ And The Adding Machine,
Maurizio,
Ponytail,
The Stooges,
Erasure,
The Alarm Clocks,
T.S.O.L.,
The Cure,
the Swans,
Gregory Isaacs,
John Lydon,
Godley & Creme,
June of 44,
Los Fastidios,
Kings Of Tomorrow,
Oneida,
Beasts of Bourbon,
Sonic Youth,
Todd Terry,
Oppenheimer Analysis,
Loose Ends,
Be Bop Deluxe,
Robert Wyatt,
Tommy Roe,
The Men They Couldn't Hang,
The Selecter,
Popol Vuh,
Fad Gadget,
The Moleskins,
The Fuzztones,
Section 25,
Prince Buster,
Duran Duran,
Chris & Cosey,
X-101,
Flipper,
Nation of Ulysses,
Agitation Free,
Lou Reed & John Cale,
Minnie Riperton,
June Days,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.