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 Algeria and from Houston.
But I was there.
I was there in 1973.
I was there at the first Television 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 1964 to 1970.
I'm losing my edge.
To all the kids in Accra and Bremen.
I'm losing my edge to the art-school Lyon 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 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 MC5 to the techno kids.
I played it at CBGB's.
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 Blake Baxter. All the underground hits.
All The Sonics tracks. I heard you have a vinyl of every Janne Schatter 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 rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Reuben Wilson,
Strawberry Alarm Clock,
Soulsonic Force,
Black Flag,
Bobby Hutcherson,
Lucky Dragons,
Anthony Braxton,
Orchestral Manoeuvres in the Dark,
Delon & Dalcan,
The Velvet Underground,
Infiniti,
Maurizio,
Ludus,
Excepter,
Avey Tare's Slasher Flicks,
Rosa Yemen,
Donny Hathaway,
The Jesus and Mary Chain,
The Smiths,
Unrelated Segments,
Parry Music,
Red Lorry Yellow Lorry,
Skriet,
Roy Ayers Ubiquity,
Brand Nubian,
Pharaoh Sanders and the Fire Engines,
Amazonics,
Nico,
The Mummies,
The American Breed,
Robert Hood,
Main Source,
DeepChord presents Echospace,
Chris Corsano,
June of 44,
The Skatalites,
Gil Scott-Heron and Jamie xx,
David McCallum,
The Victims,
Unwound,
Masters at Work,
The Leaves,
Nirvana,
Alison Limerick,
Lou Reed,
Neu!,
Eddi Front,
Todd Rundgren,
Electric Prunes,
Surgeon,
Duran Duran,
Soft Cell,
Harmonia,
London Community Gospel Choir,
De La Soul & Jungle Brothers,
the Human League,
T. Rex,
Bobby Sherman,
Hoover,
Eden Ahbez,
Altered Images,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.