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 Swaziland and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1967 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Copenhagen 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the organ 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 Yaz to the punk kids.
I played it at the Spitz.
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 Lungfish. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Rapeman record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ken Boothe record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
Mark Hollis,
Danielle Patucci,
PIL,
Whodini,
The West Coast Pop Art Experimental Band,
Pierre Henry,
Smog,
Unrelated Segments,
Essential Logic,
Brass Construction,
Marmalade,
Alphaville,
Dark Day,
The Slits,
Boz Scaggs,
Newcleus,
Judy Mowatt,
Yusef Lateef,
Liaisons Dangereuses,
The Grass Roots,
Alton Ellis,
Pole,
The New Christs,
Pylon,
Swell Maps,
Black Flag,
Main Source,
Dr. Dre and Snoop Doggy Dog,
Shuggie Otis,
Skaos,
Niagra,
Al Stewart,
Ponytail,
DJ Sneak,
Bill Near,
Parry Music,
Kool G Rap & DJ Polo,
Soulsonic Force,
Sandy B,
Deadbeat,
Banda Bassotti,
Glenn Branca,
The Red Krayola,
Q65,
The Victims,
David McCallum,
Barbara Tucker,
The Doors,
Tropical Tobacco,
Deepchord,
Siouxsie and the Banshees,
Sam Rivers,
Wire,
Lucky Dragons,
Animal Collective,
U.S. Maple,
Fad Gadget,
Monks,
Pagans, Pagans, Pagans, Pagans.
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.