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 Singapore and from Philadelphia.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1963 to 1977.
I'm losing my edge.
To all the kids in Madrid and Taipei.
I'm losing my edge to the art-school Spokane 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the arpeggiator 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 Stereo Dub to the rap kids.
I played it at Cafe Wha.
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 Charles Mingus. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Max Romeo record on German import.
I heard that you have a white label of every seminal dance 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 linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Sight & Sound,
Lalo Schifrin,
Malaria!,
Sugar Minott,
Laurel Aitken,
Susan Cadogan,
Thompson Twins,
Lizzy Mercier Descloux,
Mary Jane Girls,
The Gun Club,
OOIOO,
Supertramp,
The Shadows of Knight,
Alphaville,
Roy Ayers Ubiquity,
Animal Collective,
Motorama,
Pharaoh Sanders and the Fire Engines,
Jerry Gold Smith,
Nick Cave & The Bad Seeds,
Mo-Dettes,
Boredoms,
Model 500,
Fluxion,
Dual Sessions,
X-101,
Roxette,
Ultramagnetic MC's,
Ten City,
Darondo,
Graham Central Station,
Leonard Cohen,
The Associates,
Boogie Down Productions,
Notorious Big And Bone Thugs,
David McCallum,
Warren Ellis,
Japan,
The Vogues,
Franke,
Jandek,
Avey Tare,
kango's stein massive,
Stockholm Monsters,
Ultra Naté,
Captain Beefheart & His Magic Band,
AZ,
The Searchers,
Vainqueur,
Audionom,
Kool G Rap & DJ Polo,
Black Flag,
Drive Like Jehu,
Skaos,
Funky Four + One,
John Lydon,
Sällskapet,
Marc Romboy vs. Booka Shade,
Minnie Riperton,
Siglo XX,
Matthew Halsall,
The Busters, The Busters, The Busters, The Busters.
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.