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 Eritrea and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1960 to 1977.
I'm losing my edge.
To all the kids in Taipei and New York.
I'm losing my edge to the art-school Salvador 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 arpeggiator 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 The Vogues to the grunge kids.
I played it at Cafe Wha.
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 Scott Walker. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Kool Moe Dee 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Royal Family And The Poor,
Avey Tare & Kría Brekkan,
the Fania All-Stars,
Rahsaan Roland Kirk,
Shoche,
Guru Guru,
Marmalade,
Quando Quango,
Main Source,
The Grass Roots,
the Normal,
Graham Central Station,
Brass Construction,
Skriet,
Marshall Jefferson,
Dual Sessions,
Stereo Dub,
Boogie Down Productions,
Skarface,
The Slackers,
The Evens,
Rapeman,
Ultramagnetic MC's,
Tropical Tobacco,
Moebius,
Jeru the Damaja,
Scion,
Susan Cadogan,
Grey Daturas,
Piero Umiliani,
Sunsets and Hearts,
Wasted Youth,
Massinfluence,
Animal Collective,
Arthur Verocai,
Bobby Sherman,
Soft Machine,
Popol Vuh,
Section 25,
Sight & Sound,
The Slits,
Idris Muhammad,
Selector Dub Narcotic,
Liaisons Dangereuses,
The Dead C,
Unrelated Segments,
Tomorrow,
The Five Americans,
Louis and Bebe Barron,
The Dirtbombs,
Crash Course in Science,
Ronnie Foster,
Fifty Foot Hose,
Justin Hinds & The Dominoes,
Alice Coltrane,
The Velvet Underground,
The Residents,
The New Christs,
Heavy D & The Boyz,
Das Ding,
Newcleus,
Danielle Patucci,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.