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 Suriname and from Johannesburg.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Manila and London.
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 808 sounds with much patience.
I was there when Robert Palmer 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 Dual Sessions to the crunk 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 Radio Birdman. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Jandek record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
Mo-Dettes,
Clear Light,
Absolute Body Control,
Roy Ayers Ubiquity,
Alison Limerick,
UT,
Liliput,
The Gun Club,
Brand Nubian,
Minnie Riperton,
Animal Collective,
The Royal Family And The Poor,
Matthew Halsall,
a-ha,
Kas Product,
Thinking Fellers Union Local 282,
Toni Rubio,
Flipper,
Sexual Harrassment,
Thompson Twins,
The Moody Blues,
Oppenheimer Analysis,
De La Soul & Jungle Brothers,
Marcia Griffiths,
Heaven 17,
Aural Exciters,
The Smiths,
Nik Kershaw,
The Divine Comedy,
Essential Logic,
Siglo XX,
Skriet,
Television,
Terror Squad Feat. Camron,
Siouxsie and the Banshees,
Ossler,
Drexciya,
LL Cool J,
Sam Rivers,
Sister Nancy,
Richard Hell and the Voidoids,
The Monochrome Set,
Pere Ubu,
Grandmaster Flash,
Joy Division,
Stereo Dub,
The Mojo Men,
Organ,
Junior Murvin,
Lower 48,
Angels of Light & Akron/Family,
Amon Düül,
Scan 7,
Soft Machine,
Shoche,
Danielle Patucci,
Rapeman,
Fatback Band,
Bauhaus,
Circle Jerks, Circle Jerks, Circle Jerks, Circle Jerks.
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.