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 Sweden and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1979.
I'm losing my edge.
To all the kids in Mexico City and Hong Kong.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Selector Dub Narcotic to the rock kids.
I played it at Trash.
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 Half Japanese. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Lebanon Hanover record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Sonics record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
Althea and Donna,
Cluster,
Roy Ayers Ubiquity,
Captain Beefheart & His Magic Band,
Bob Dylan,
Isaac Hayes,
Derrick Morgan,
New York Dolls,
the Fania All-Stars,
Man Eating Sloth,
The Martian,
The Flesh Eaters,
Patti Smith,
Scion,
Guru Guru,
Roger Hodgson,
Jandek,
Swell Maps,
Magazine,
The Pop Group,
Sex Pistols,
Suicide,
Lou Christie,
Royal Trux,
Loose Ends,
Warren Ellis,
Arab on Radar,
Young Marble Giants,
Rekid,
Gil Scott-Heron & Brian Jackson,
Index,
Siouxsie and the Banshees,
Metal Thangz,
De La Soul & Jungle Brothers,
Kango’s Stein Massive,
The Tremeloes,
Avey Tare's Slasher Flicks,
Panda Bear,
Minor Threat,
Sexual Harrassment,
Roxy Music,
Jacob Miller,
Lightning Bolt,
Gil Scott-Heron and Jamie xx,
Interpol,
The Sound,
Grey Daturas,
Deadbeat,
Warsaw,
Marcia Griffiths,
Kenny Larkin,
China Crisis,
Newcleus,
Hashim,
The Smoke,
Monolake,
Urselle,
Jesper Dahlback,
Swans,
Faust,
Wings,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.