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 Indonesia and from Woodstock.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1978.
I'm losing my edge.
To all the kids in Madrid and Bologna.
I'm losing my edge to the art-school Tehran 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 guitar 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 Roger Hodgson to the disco 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 Ultra Naté. All the underground hits.
All Super Lover Cee & Casanova Rud tracks. I heard you have a vinyl of every The Misunderstood record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Glenn Branca record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
Bizarre Inc.,
Sarah Menescal,
Eve St. Jones,
The Move,
Arab on Radar,
Ituana,
Inner City,
Black Moon,
Spoonie Gee,
Y Pants,
Average White Band,
Fat Boys,
D'Angelo,
DNA,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lightning Bolt,
Eric Copeland,
Erasure,
Tomorrow,
Saccharine Trust,
The Monks,
The Gap Band,
Blancmange,
Mantronix,
Cal Tjader,
Morten Harket,
Eyeless In Gaza,
John Holt,
Brass Construction,
Model 500,
Radiopuhelimet,
Funkadelic,
Gil Scott Heron,
Lonnie Liston Smith,
Sound Behaviour,
Faraquet,
Von Mondo,
Cybotron,
Avey Tare's Slasher Flicks,
Blossom Toes,
The Slackers,
Brick,
Altered Images,
Johnny Osbourne,
Ornette Coleman,
Half Japanese,
Sugar Minott,
Stockholm Monsters,
The Associates,
Gary Puckett & The Union Gap,
Henry Cow,
Dennis Brown,
Qualms,
Parry Music,
48th St. Collective,
Rahsaan Roland Kirk,
Throbbing Gristle,
Pantytec, Pantytec, Pantytec, Pantytec.
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.