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 Samoa and from Bremen.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Bremen.
I'm losing my edge to the art-school Portland 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 Selda practice in a loft in Istanbul.
I was working on the synthesizer 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 Ossler to the techno kids.
I played it at the Astoria.
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 John Lydon. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every Icehouse 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
Black Sheep,
Black Moon,
KRS-One,
Alton Ellis,
Organ,
In Retrospect,
Louis and Bebe Barron,
Freddie Wadling,
Wighnomy Brothers & Robag Wruhme,
Rapeman,
Bobby Sherman,
Eric Copeland,
Section 25,
X-101,
The Star Department,
Godley & Creme,
Harpers Bizarre,
The Associates,
Slave,
Fatback Band,
Lyres,
Jesper Dahlback,
Newcleus,
The Knickerbockers,
Deepchord,
Scientists,
The Invisible,
Susan Cadogan,
D'Angelo,
Wire,
Sad Lovers and Giants,
Buzzcocks,
Shuggie Otis,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
John Holt,
Toni Rubio,
Laurel Aitken,
Visionaries,LMNO, T- Love & Iriscience,
Gerry Rafferty,
Second Layer,
Fifty Foot Hose,
Sugar Minott,
Connie Case,
Pagans,
Public Image Ltd.,
Intrusion,
Cabaret Voltaire,
Young Marble Giants,
Flipper,
Eyeless In Gaza,
Flash Fearless,
Sonny Sharrock,
Half Japanese,
Marmalade,
Gong,
Visage,
Sixth Finger,
Pierre Henry,
Babytalk,
Bluetip, Bluetip, Bluetip, Bluetip.
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.