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 Kenya and from Glasgow.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Beijing and Lyon.
I'm losing my edge to the art-school Tokyo 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Gil Scott-Heron and Jamie xx to the crunk kids.
I played it at the 40 Watt.
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 Motorama. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every Black Moon record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
The Misunderstood,
Red Lorry Yellow Lorry,
Bootsy Collins,
Funkadelic,
Archie Shepp,
Silicon Teens,
Sun City Girls,
Liaisons Dangereuses,
The Buckinghams,
The Smoke,
a-ha,
Young Marble Giants,
Depeche Mode,
Parry Music,
Tim Buckley,
Ornette Coleman,
Morten Harket,
Flash Fearless,
the Normal,
Whodini,
Harmonia,
Gian Franco Pienzio,
Eric Copeland,
Tom Boy,
Crash Course in Science,
Joyce Sims,
Dave Gahan,
Deakin,
Avey Tare,
Amazonics,
Suburban Knight,
Gary Puckett & The Union Gap,
Rahsaan Roland Kirk,
The Happenings,
Gang of Four,
Gang Green,
Richard Hell and the Voidoids,
The Pretty Things,
Barclay James Harvest,
Lakeside,
Quando Quango,
Country Joe & The Fish,
Oppenheimer Analysis,
Glenn Branca,
Cheater Slicks,
Maleditus Sound,
The Evens,
Camouflage,
New Order,
Pere Ubu,
Gil Scott-Heron and Jamie xx,
Chris Corsano,
Eric B and Rakim,
Juan Atkins,
John Coltrane,
John Foxx,
Byron Stingily,
Gregory Isaacs,
Basic Channel,
Gichy Dan,
Kauko Röyhkä ja Narttu,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.