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 Honduras and from Philadelphia.
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 1961 to 1971.
I'm losing my edge.
To all the kids in London and Beijing.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 EPMD to the crunk 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 Stockholm Monsters. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heaven 17,
The Divine Comedy,
Lyres,
Saccharine Trust,
The West Coast Pop Art Experimental Band,
Metal Thangz,
The Music Machine,
Das Ding,
Section 25,
Black Moon,
Pylon,
The Slackers,
Basic Channel,
Derrick Morgan,
Main Source,
Joyce Sims,
Average White Band,
Lou Christie,
the Association,
The Smoke,
Vladislav Delay,
Wolf Eyes,
Anthony Braxton,
Hardrive,
John Coltrane,
Joe Finger,
John Foxx,
The Star Department,
Neil Young & Crazy Horse,
Scrapy,
The Jesus and Mary Chain,
Au Pairs,
The Techniques,
Nick Fraelich,
Royal Trux,
Eurythmics,
Bill Wells,
Trumans Water,
Negative Approach,
Electric Prunes,
Neil Young,
H. Thieme,
Chrome,
Ajijia Myrayebe,
Grandmaster Flash and the Furious Five,
Gil Scott-Heron & Brian Jackson,
Bizarre Inc.,
The Blues Magoos,
Girls At Our Best!,
Kerrie Biddell,
Absolute Body Control,
Bobbi Humphrey,
Mark Hollis,
cv313,
Mad Mike,
Lindisfarne,
Black Sheep,
Brick,
Heavy D & The Boyz,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.