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 Algeria and from Tehran.
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 1977.
I'm losing my edge.
To all the kids in Halifax and Delhi.
I'm losing my edge to the art-school Paris 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 organ 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 Gang Gang Dance to the punk 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 The Gun Club. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Von Mondo record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
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 Dawn Penn record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
The Residents,
Lou Reed & John Cale,
Underground Resistance,
Bizarre Inc.,
The New Christs,
Susan Cadogan,
Eurythmics,
Bob Dylan,
The Golliwogs,
Minor Threat,
Man Parrish,
Funkadelic,
Godley & Creme,
Lou Christie,
Junior Murvin,
Faraquet,
Dual Sessions,
The Five Americans,
The Gories,
Easy Going,
The Saints,
Metal Thangz,
Boogie Down Productions,
The Modern Lovers,
Rites of Spring,
Joensuu 1685,
Peter & Gordon,
Ajijia Myrayebe,
Oppenheimer Analysis,
Q and Not U,
Dawn Penn,
Sad Lovers and Giants,
The American Breed,
Bronski Beat,
Letta Mbulu,
Terrestrial Tones,
Sparks,
Black Moon,
Fad Gadget,
The Pop Group,
Rakim,
Avey Tare's Slasher Flicks,
Warren Ellis,
The Music Machine,
Dark Day,
Shuggie Otis,
Fort Wilson Riot,
10cc,
Richard Hell and the Voidoids,
The Moody Blues,
Notorious Big And Bone Thugs,
Aural Exciters,
Dennis Brown,
T.S.O.L.,
The Vogues,
Camron Feat. Memphis Bleek And Beenie Seigel,
Johnny Osbourne,
Zapp,
Lindisfarne,
Severed Heads,
Minnie Riperton,
Scion, Scion, Scion, Scion.
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.