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 Laos and from Glasgow.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1974.
I'm losing my edge.
To all the kids in Bremen and Glasgow.
I'm losing my edge to the art-school Mumbai 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 organ 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 Ultra Naté to the grime kids.
I played it at the Spitz.
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 The New Christs tracks. I heard you have a vinyl of every Iggy Pop 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 '70s cut and another box set from the '70s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Isaac Hayes,
Red Lorry Yellow Lorry,
Faraquet,
Davy DMX,
Minor Threat,
Cecil Taylor,
Mark Hollis,
Animal Collective,
A Certain Ratio,
Bobby Sherman,
The Remains,
The Moody Blues,
Oneida,
Oppenheimer Analysis,
The Pop Group,
Scientists,
John Foxx,
Suburban Knight,
Accadde A,
Oblivians,
Angry Samoans,
Crime,
Rod Modell,
Surgeon,
Avey Tare's Slasher Flicks,
Gang Starr,
The Dead C,
Absolute Body Control,
Tropical Tobacco,
Electric Light Orchestra,
Kaleidoscope,
Lizzy Mercier Descloux,
Procol Harum,
Strawberry Alarm Clock,
Soft Machine,
Half Japanese,
Pierre Henry,
Rotary Connection,
The Motions,
Jesper Dahlbäck,
Aural Exciters,
Larry & the Blue Notes,
L. Decosne,
Boogie Down Productions,
Wally Richardson,
Alison Limerick,
Andrew Hill,
The Slits,
Joe Smooth,
Bob Dylan,
Ice-T,
Camron Feat. Jay Z And Juelz,
Dennis Brown,
Terror Squad Feat. Camron,
The Barracudas,
The Black Dice,
Livin' Joy,
Excepter,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.