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 St Lucia and from Hong Kong.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Toronto and Lille.
I'm losing my edge to the art-school Milan 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Bobby Womack to the grime kids.
I played it at the Troubador.
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 Marcia Griffiths. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every The Index record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Royal Trux,
Notorious Big And Bone Thugs,
The Wake,
Alice Coltrane,
Davy DMX,
Bluetip,
LL Cool J,
Bang On A Can,
Avey Tare & Kría Brekkan,
The Monochrome Set,
This Heat,
Spoonie Gee,
Kings Of Tomorrow,
The Sound,
Mad Mike,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Connie Case,
John Lydon,
the Association,
Scratch Acid,
Magma,
John Cale,
Soulsonic Force,
Buzzcocks,
Heaven 17,
Patti Smith,
Arcadia,
Red Lorry Yellow Lorry,
Kango’s Stein Massive,
Adolescents,
Lalo Schifrin,
Gastr Del Sol,
Quantec,
Q65,
The Searchers,
Cymande,
Scion,
Sly & The Family Stone,
The West Coast Pop Art Experimental Band,
Dawn Penn,
Gichy Dan,
Chrome,
Suicide,
Make Up,
Tomorrow,
The Blues Magoos,
Bobby Sherman,
Country Joe & The Fish,
Pet Shop Boys,
kango's stein massive,
Sexual Harrassment,
the Bar-Kays,
Cybotron,
Girls At Our Best!,
Television,
Eric B and Rakim,
Sad Lovers and Giants,
Lee Hazlewood,
The Standells,
Soft Machine,
Chris Corsano,
Con Funk Shun,
The Doobie Brothers, The Doobie Brothers, The Doobie Brothers, The Doobie Brothers.
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.