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 Sierra Leone and from Houston.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Taipei and Milan.
I'm losing my edge to the art-school Beijing 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the organ sounds with much patience.
I was there when Michael McDonald 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 Bootsy's Rubber Band to the rock kids.
I played it at Trash.
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 Saccharine Trust. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every ABC record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Model 500,
Kerri Chandler,
Byron Stingily,
Scott Walker,
Bobbi Humphrey,
Mark Hollis,
Bootsy's Rubber Band,
The Index,
The Angels of Light,
Minutemen,
Wire,
Motorama,
Simply Red,
Nils Olav,
Laurel Aitken,
Metal Thangz,
Lalo Schifrin,
Moss Icon,
Basic Channel,
OOIOO,
Japan,
The Buckinghams,
Rekid,
DJ Sneak,
Quantec,
Brand Nubian,
Jimmy McGriff,
Tears for Fears,
Charles Mingus,
Sixth Finger,
Jacques Brel,
Boz Scaggs,
Joe Smooth,
Joyce Sims,
48th St. Collective,
Alice Coltrane,
London Community Gospel Choir,
Nick Fraelich,
Marmalade,
The Skatalites,
Supertramp,
Can,
Boredoms,
Rakim,
Pete Rock & C.L. Smooth,
The Evens,
Dorothy Ashby,
Bluetip,
Easy Going,
T. Rex,
The Stooges,
Boogie Down Productions,
Symarip,
Soft Cell,
The Associates,
The Motions,
New Order,
Tropical Tobacco,
Sandy B,
Gil Scott-Heron and Jamie xx,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.