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 China and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Halifax and Delhi.
I'm losing my edge to the art-school Jakarta 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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron 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 Ornette Coleman to the disco kids.
I played it at the Astoria.
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 Minnie Riperton. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every John Cale record on German import.
I heard that you have a white label of every seminal punk 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 snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
The Neon Judgement,
It's A Beautiful Day,
Wire,
James Chance & The Contortions,
Maleditus Sound,
Barbara Tucker,
Derrick May,
Kenny Larkin,
Pete Rock & C.L. Smooth,
The Knickerbockers,
Peter Gordon & Love of Life Orchestra,
Porter Ricks,
Joensuu 1685,
Nas,
Grandmaster Flash,
Connie Case,
Scrapy,
The Shadows of Knight,
Jandek,
H. Thieme,
Spoonie Gee,
Simply Red,
Gang Green,
Bobby Sherman,
The Cramps,
Desert Stars,
Heaven 17,
Gang Starr,
X-101,
The Fall,
Andrew Ashong & Theo Parrish,
Ronan,
Parry Music,
Hot Snakes,
The Fugs,
Terrestrial Tones,
Banda Bassotti,
Black Bananas,
Mary Jane Girls,
John Foxx,
Kerrie Biddell,
Black Sheep,
Nils Olav,
The Grass Roots,
Second Layer,
Aloha Tigers,
Von Mondo,
Lizzy Mercier Descloux,
Juan Atkins,
The Dead C,
Boogie Down Productions,
Alton Ellis,
Skriet,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Blues Magoos,
Sparks,
Minnie Riperton,
Rapeman,
The J.B.'s,
Quando Quango,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.