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 Uganda and from Columbus.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Tehran and Johannesburg.
I'm losing my edge to the art-school Seoul 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 snare 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 Avey Tare & Kría Brekkan to the grunge 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 Half Japanese. All the underground hits.
All Eddi Front 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 punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Erykah Badu record.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
The Wake,
Lee Hazlewood,
Aural Exciters,
Michelle Simonal,
Rites of Spring,
Harry Pussy,
Fluxion,
The Gories,
Joe Finger,
The Gap Band,
Wally Richardson,
Tubeway Army,
Amon Düül,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Radiopuhelimet,
Donny Hathaway,
Section 25,
Metal Thangz,
Patti Smith,
David McCallum,
The West Coast Pop Art Experimental Band,
The Fire Engines,
Soulsonic Force,
Shuggie Otis,
Aswad,
Joyce Sims,
Janne Schatter,
OOIOO,
Pierre Henry,
Charles Mingus,
Chris & Cosey,
The Remains,
F. McDonald,
June Days,
Barbara Tucker,
Spandau Ballet,
the Swans,
The Stooges,
Interpol,
Matthew Bourne,
Ronnie Foster,
Youth Brigade,
Bush Tetras,
Lonnie Liston Smith,
Derrick May,
Rapeman,
Bobby Womack,
Gastr Del Sol,
Jeff Lynne,
Wasted Youth,
Bobby Byrd,
Electric Light Orchestra,
Deutsch Amerikanische Freundschaft,
James White and The Blacks,
Rod Modell,
Rufus Thomas,
Theoretical Girls,
Y Pants,
Soul II Soul,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.