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 Lithuania and from Taipei.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Glasgow.
I'm losing my edge to the art-school Woodstock 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 1976 at the first Feelies practice in a loft in Haledon.
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 Pussy Galore to the techno kids.
I played it at the Roxy.
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 New York Dolls. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every Eric B and Rakim record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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 Count Five,
Gregory Isaacs,
The Smiths,
Carl Craig,
The Angels of Light,
Steve Hackett,
The Shadows of Knight,
Bauhaus,
Saccharine Trust,
The Raincoats,
Lalo Schifrin,
June Days,
Bill Near,
Flamin' Groovies,
Dual Sessions,
Josef K,
Oneida,
Manfred Mann's Earth Band,
The Techniques,
X-Ray Spex,
Kings Of Tomorrow,
Sun Ra Arkestra,
New Age Steppers,
The Residents,
Charles Mingus,
Sparks,
Jeff Lynne,
Maleditus Sound,
Derrick May,
James White and The Blacks,
Soft Cell,
Bizarre Inc.,
Louis and Bebe Barron,
The Dave Clark Five,
Banda Bassotti,
Ultimate Spinach,
T. Rex,
MC5,
Eurythmics,
K-Klass,
Youth Brigade,
Red Lorry Yellow Lorry,
Ten City,
Terrestrial Tones,
Scott Walker + Sunn O))),
Arcadia,
Sixth Finger,
Tropical Tobacco,
Gang Gang Dance,
DNA,
Agent Orange,
Television Personalities,
The Mighty Diamonds,
H. Thieme,
Pulsallama,
The Moody Blues,
the Normal,
Graham Central Station,
Crime,
Lizzy Mercier Descloux,
Soulsonic Force,
Brand Nubian,
The Jesus and Mary Chain,
the Association, the Association, the Association, the Association.
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.