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 Belize and from Tehran.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Calgary and Halifax.
I'm losing my edge to the art-school London 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 Harry Pussy to the rap kids.
I played it at the Roxy.
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 a-ha. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Sugar Minott 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your oboe and bought a guitar.
I hear that you and your band have sold your guitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
The Offenders,
Das Ding,
Zero Boys,
Bad Manners,
Black Bananas,
Television Personalities,
Sound Behaviour,
Scratch Acid,
Avey Tare's Slasher Flicks,
Organ,
The Names,
MC5,
June Days,
Sex Pistols,
Popol Vuh,
Peter & Gordon,
Gregory Isaacs,
The Mojo Men,
Youth Brigade,
Ten City,
Lizzy Mercier Descloux,
Pagans,
Neil Young,
Shuggie Otis,
Model 500,
The Vogues,
The Pretty Things,
Quando Quango,
The Zeros,
Soul II Soul,
Bill Near,
Dennis Brown,
Selector Dub Narcotic,
Kool G Rap & DJ Polo,
Technova,
The Busters,
The Move,
Sun City Girls,
Nik Kershaw,
Audionom,
Orchestral Manoeuvres in the Dark,
De La Soul & Jungle Brothers,
Talk Talk,
Josef K,
The Human League,
Warsaw,
Slick Rick,
U.S. Maple,
Louis and Bebe Barron,
Letta Mbulu,
The Dead C,
Chris & Cosey,
Aural Exciters,
Stiv Bators,
Bill Wells,
Patti Smith,
Lightning Bolt,
Qualms,
The Grass Roots,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.