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 Congo and from Johannesburg.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Philadelphia.
I'm losing my edge to the art-school Tokyo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 The Real Kids to the rock kids.
I played it at the Roxy.
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 Depeche Mode. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Manfred Mann's Earth Band record on German import.
I heard that you have a white label of every seminal rap 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 an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Frankie Knuckles record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
Lindisfarne,
Magazine,
The Pop Group,
ABC,
Delon & Dalcan,
Johnny Osbourne,
Notorious Big And Bone Thugs,
Groovy Waters,
Model 500,
Bluetip,
Drexciya,
Crime,
Vainqueur,
Deutsch Amerikanische Freundschaft,
Amazonics,
Spandau Ballet,
Gary Puckett & The Union Gap,
The Grass Roots,
Agitation Free,
Make Up,
Althea and Donna,
Heaven 17,
Theoretical Girls,
Warsaw,
The Dirtbombs,
The American Breed,
Bauhaus,
Gil Scott Heron,
Howard Jones,
The Associates,
Con Funk Shun,
Blancmange,
Joe Smooth,
Sam Rivers,
Pierre Henry,
Oneida,
Sugar Minott,
Mad Mike,
Rhythm & Sound,
The Gun Club,
Faraquet,
Gil Scott-Heron and Jamie xx,
Deakin,
Eyeless In Gaza,
Chrome,
The Jesus and Mary Chain,
Sunsets and Hearts,
Matthew Halsall,
Junior Murvin,
Japan,
Loose Ends,
Infiniti,
ABBA,
Erykah Badu,
Skriet,
This Heat,
John Lydon,
Nico,
The Wake,
The Chocolate Watch Band,
Black Pus,
Barry Ungar,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.