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 Guatemala and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Lyon and Woodstock.
I'm losing my edge to the art-school Madrid 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 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 the Normal to the techno kids.
I played it at the Crocodile.
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 Soft Machine. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Amon Düül 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Massinfluence,
Grey Daturas,
Letta Mbulu,
The Flesh Eaters,
Ultimate Spinach,
Lungfish,
Public Enemy,
Teenage Jesus and the Jerks,
Liaisons Dangereuses,
Thompson Twins,
Erykah Badu,
Stockholm Monsters,
Notorious BIG live in Amsterdam,
Minnie Riperton,
The Blues Magoos,
Bootsy's Rubber Band,
The Moleskins,
John Coltrane,
Shuggie Otis,
Hot Snakes,
The Selecter,
Barbara Tucker,
Crime,
Marc Romboy vs. Booka Shade,
Piero Umiliani,
T. Rex,
Soft Cell,
Main Source,
Neu!,
The Monochrome Set,
Suicide,
Drive Like Jehu,
The Gories,
Slave,
The Litter,
Sun Ra,
Livin' Joy,
Deepchord,
Arthur Verocai,
Stereo Dub,
Marshall Jefferson,
KRS-One,
Alphaville,
Crispy Ambulance,
Jacob Miller,
Lou Reed & John Cale,
Magazine,
Scott Walker + Sunn O))),
Mission of Burma,
Gang Gang Dance,
Technova,
The Barracudas,
Kevin Saunderson,
The American Breed,
Organ,
Gichy Dan,
Reuben Wilson,
Eyeless In Gaza,
Reagan Youth,
Lakeside,
Lonnie Liston Smith,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.