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 Uruguay and from Jakarta.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Cairo and Mumbai.
I'm losing my edge to the art-school New York 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 Peter & Gordon to the techno 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 Freddie Wadling. All the underground hits.
All 10cc tracks. I heard you have a vinyl of every Icehouse record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cosmic Jokers,
Andrew Hill,
Cheater Slicks,
Max Romeo,
Crispian St. Peters,
The Dave Clark Five,
Chrome,
K-Klass,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Outsiders,
Country Joe & The Fish,
Oneida,
The Black Dice,
Siouxsie and the Banshees,
Excepter,
Eric Dolphy,
Quantec,
Mo-Dettes,
Gil Scott-Heron & Brian Jackson,
Throbbing Gristle,
Minutemen,
Neil Young & Crazy Horse,
Kerrie Biddell,
Soul Sonic Force,
Theoretical Girls,
The Skatalites,
Rowland S Howard / Lydia Lunch,
Jawbox,
Underground Resistance,
Fort Wilson Riot,
Camron Feat. Memphis Bleek And Beenie Seigel,
Altered Images,
Camron Feat. Jay Z And Juelz,
Young Marble Giants,
The Kinks,
The Gladiators,
Interpol,
Kaleidoscope,
Model 500,
Janne Schatter,
In Retrospect,
DJ Sneak,
The Names,
Blake Baxter,
The Jesus and Mary Chain,
Urselle,
Cybotron,
The Motions,
The Young Rascals,
New Age Steppers,
Animal Collective,
Erasure,
John Cale,
Ten City,
Accadde A,
The United States of America,
Bootsy's Rubber Band,
Pantaleimon,
Kayak,
T. Rex, T. Rex, T. Rex, T. Rex.
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.