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 Gambia and from Mumbai.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
I'm losing my edge to the art-school Manila 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 güiro sounds with much patience.
I was there when Donald Fagen 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 Kevin Saunderson to the rap 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 Babytalk. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
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 Arthur Verocai record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
kango's stein massive,
Monolake,
Darondo,
Lizzy Mercier Descloux,
Dark Day,
Amazonics,
Freddie Wadling,
Fugazi,
Archie Shepp,
Blossom Toes,
Fifty Foot Hose,
Urselle,
Gastr Del Sol,
The Mighty Diamonds,
The Monks,
The Kinks,
KRS-One,
Beasts of Bourbon,
The Dirtbombs,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Kerrie Biddell,
Selector Dub Narcotic,
World's Most,
cv313,
Sad Lovers and Giants,
a-ha,
Leonard Cohen,
The Smoke,
Junior Murvin,
Skriet,
Pylon,
AZ,
Donny Hathaway,
Avey Tare & Kría Brekkan,
Soft Machine,
The Toasters,
Harmonia,
Barbara Tucker,
Liaisons Dangereuses,
Matthew Halsall,
Aural Exciters,
Arthur Verocai,
Eddi Front,
Motorama,
Monks,
Richard Hell and the Voidoids,
Swans,
The Angels of Light,
The United States of America,
Eric Copeland,
U.S. Maple,
Michelle Simonal,
UT,
Ultra Naté,
David McCallum,
Todd Terry,
The Motions,
Sight & Sound,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.