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 Croatia and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Toronto and Madrid.
I'm losing my edge to the art-school Cairo 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 1978 at the first Visage practice in a loft in London.
I was working on the 808 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 Dorothy Ashby to the crunk kids.
I played it at the Troubador.
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 Ornette Coleman. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Barrington Levy 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Fifty Foot Hose,
Ohio Players,
Angry Samoans,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pere Ubu,
Interpol,
Television,
Ajijia Myrayebe,
Steve Hackett,
Marine Girls,
Slave,
The Selecter,
Aloha Tigers,
T.S.O.L.,
Lou Reed & Metallica,
The Searchers,
Vaughan Mason & Crew,
Eurythmics,
Cameo,
The West Coast Pop Art Experimental Band,
Leonard Cohen,
Jeru the Damaja,
Kauko Röyhkä ja Narttu,
Glambeats Corp.,
David Axelrod,
Los Fastidios,
Audionom,
Beasts of Bourbon,
Richard Hell and the Voidoids,
Moss Icon,
Animal Collective,
Stereo Dub,
Skaos,
Pete Rock & C.L. Smooth,
Albert Ayler,
Teenage Jesus and the Jerks,
Blancmange,
Tommy Roe,
Connie Case,
Deakin,
Outsiders,
Marc Almond,
The Residents,
The Saints,
The Divine Comedy,
Unrelated Segments,
Avey Tare & Kría Brekkan,
John Coltrane,
The Knickerbockers,
Pierre Henry,
Wighnomy Brothers & Robag Wruhme,
Howard Jones,
Throbbing Gristle,
Underground Resistance,
the Germs,
Ultravox,
Bobby Womack,
Pantaleimon,
Nation of Ulysses,
Aswad,
Average White Band,
Harmonia, Harmonia, Harmonia, Harmonia.
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.