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 Zimbabwe and from Mumbai.
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 1970.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Woodstock 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 Rosa Yemen to the grunge kids.
I played it at the 40 Watt.
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 Sam Rivers. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Alphaville record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Malaria!,
Warsaw,
Funky Four + One,
Bobby Byrd,
Pete Rock & C.L. Smooth,
the Bar-Kays,
Mr. Review,
Skarface,
Deadbeat,
Arthur Verocai,
The Happenings,
Soft Machine,
Sticky Fingaz feat. Raekwon,
The Zeros,
Cecil Taylor,
Sam Rivers,
Yaz,
Unwound,
The Toasters,
Kenny Larkin,
Sandy B,
Organ,
Barry Ungar,
Main Source,
Marc Almond,
Bluetip,
The Count Five,
The Divine Comedy,
Morten Harket,
Public Enemy,
Sun City Girls,
Audionom,
Eric Copeland,
Rekid,
kango's stein massive,
Soft Cell,
Sonny Sharrock,
Jacques Brel,
The J.B.'s,
Quantec,
Mad Mike,
Country Teasers,
Bauhaus,
Fifty Foot Hose,
Monks,
E-Dancer,
Tom Boy,
Kurtis Blow,
Boogie Down Productions,
Ultramagnetic MC's,
Gang Gang Dance,
These Immortal Souls,
Lebanon Hanover,
Drexciya,
Easy Going,
Radiohead,
Saccharine Trust,
The Gap Band,
Urselle,
Wighnomy Brothers & Robag Wruhme,
Aural Exciters,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.