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 Kuwait and from Edmonton.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Woodstock.
I'm losing my edge to the art-school Portland 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar 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 Popol Vuh to the rap 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 Tim Buckley. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every Stetsasonic 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Smiths,
Average White Band,
Interpol,
Saccharine Trust,
The Blues Magoos,
Amon Düül II,
Bobby Sherman,
Radiopuhelimet,
The Gun Club,
Supertramp,
Ponytail,
Erykah Badu,
It's A Beautiful Day,
The Tremeloes,
Radiohead,
Alice Coltrane,
Crash Course in Science,
Swans,
Andrew Hill,
Lou Reed & Metallica,
Kurtis Blow,
Sight & Sound,
Mantronix,
Accadde A,
Rotary Connection,
The Zeros,
Boz Scaggs,
The Associates,
London Community Gospel Choir,
Liaisons Dangereuses,
Roy Ayers,
Sly & The Family Stone,
The Alarm Clocks,
Nick Fraelich,
The Cramps,
Oblivians,
E-Dancer,
Mr. Review,
Bill Near,
Pharaoh Sanders and the Fire Engines,
New Age Steppers,
Larry & the Blue Notes,
Lakeside,
The New Christs,
Young Marble Giants,
Susan Cadogan,
Matthew Bourne,
CMW,
Cheater Slicks,
FM Einheit,
Michelle Simonal,
Crispy Ambulance,
La Düsseldorf,
Cal Tjader,
Boredoms,
Bootsy's Rubber Band,
Surgeon,
Roger Hodgson,
The J.B.'s,
Country Joe & The Fish,
Buzzcocks,
Bluetip,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.