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 Lesotho and from Toronto.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Milan and London.
I'm losing my edge to the art-school Glasgow 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the oboe 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 Fear to the jazz 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 Slick Rick. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Aswad record on German import.
I heard that you have a white label of every seminal electroclash 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 sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Pylon,
Avey Tare & Kría Brekkan,
The Moleskins,
Metal Thangz,
Cameo,
X-Ray Spex,
Mantronix,
London Community Gospel Choir,
Mad Mike,
Pet Shop Boys,
Super Lover Cee & Casanova Rud,
Echospace,
The Royal Family And The Poor,
Be Bop Deluxe,
Ronan,
Barbara Tucker,
Sex Pistols,
Deakin,
Anthony Braxton,
The Slits,
Altered Images,
Swell Maps,
Barry Ungar,
Grandmaster Flash,
Minutemen,
Susan Cadogan,
The Toasters,
Roy Ayers Ubiquity,
Brass Construction,
Stetsasonic,
Oneida,
Tres Demented,
Soft Cell,
Q65,
Bobby Hutcherson,
Agent Orange,
Captain Beefheart & His Magic Band,
Loose Ends,
Negative Approach,
The Dirtbombs,
Stereo Dub,
the Fania All-Stars,
Traffic Nightmare,
OOIOO,
The Searchers,
The Mojo Men,
Can,
Black Flag,
Television,
Kool Moe Dee,
Ornette Coleman,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Music Machine,
Gabor Szabo,
Lonnie Liston Smith,
Banda Bassotti,
Big Daddy Kane,
The Invisible,
Bush Tetras,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.