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 Nepal and from Bremen.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Madrid and New York.
I'm losing my edge to the art-school Seoul 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Gary Puckett & The Union Gap to the techno kids.
I played it at the Hacienda.
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 Sticky Fingaz feat. Raekwon. All the underground hits.
All The Gories tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Scientists record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Howard Jones,
Faraquet,
Joe Finger,
These Immortal Souls,
Gil Scott Heron,
The Music Machine,
The Doors,
Piero Umiliani,
Captain Beefheart & His Magic Band,
Animal Collective,
Roger Hodgson,
Deutsch Amerikanische Freundschaft,
Electric Light Orchestra,
Todd Rundgren,
Intrusion,
Eve St. Jones,
The Raincoats,
Spandau Ballet,
Avey Tare,
The Dead C,
Lou Reed & Metallica,
The Zeros,
Sugar Minott,
Ohio Players,
The Gories,
Trumans Water,
Procol Harum,
The Happenings,
Zapp,
David Axelrod,
Bauhaus,
Arab on Radar,
Amazonics,
Ponytail,
Joey Negro,
Interpol,
Dark Day,
China Crisis,
the Association,
Los Fastidios,
Lee Hazlewood,
The Gun Club,
Dead Boys,
Tom Boy,
The Black Dice,
Ronan,
Mary Jane Girls,
Dorothy Ashby,
the Bar-Kays,
The Knickerbockers,
the Swans,
The Mighty Diamonds,
La Düsseldorf,
The Selecter,
Flash Fearless,
Quando Quango,
The Human League,
10cc,
Barclay James Harvest,
Camouflage,
Be Bop Deluxe,
Franke, Franke, Franke, Franke.
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.