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 Portugal and from Winnipeg.
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 1975.
I'm losing my edge.
To all the kids in Hong Kong and Jakarta.
I'm losing my edge to the art-school Portland 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Soft Machine to the disco kids.
I played it at Trash.
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 The Doobie Brothers. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every The Toasters record on German import.
I heard that you have a white label of every seminal funk 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 snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
T.S.O.L.,
Mandrill,
Boogie Down Productions,
The Skatalites,
The Gun Club,
Wire,
Sly & The Family Stone,
The Remains,
Ituana,
Blossom Toes,
E-Dancer,
Echospace,
Gil Scott-Heron & Brian Jackson,
Electric Light Orchestra,
Black Moon,
Scott Walker + Sunn O))),
Tomorrow,
Tres Demented,
Fort Wilson Riot,
Whodini,
Tommy Roe,
Lee Hazlewood,
The United States of America,
Moby Grape,
Kurtis Blow,
Malaria!,
Bang on a Can All-Stars,
Moss Icon,
Fluxion,
Deutsch Amerikanische Freundschaft,
Wings,
Röyhkä ja Rättö ja Lehtisalo,
Theoretical Girls,
Ornette Coleman,
Colin Newman,
Aswad,
Harpers Bizarre,
Outsiders,
The Raincoats,
Skarface,
Jacob Miller,
The Evens,
Rakim,
48th St. Collective,
Soul Sonic Force,
Chrome,
Sun City Girls,
Siouxsie and the Banshees,
Country Teasers,
Skriet,
L. Decosne,
X-101,
Yusef Lateef,
Kayak,
Ten City,
Prince Buster,
Bootsy's Rubber Band,
Dr. Dre and Snoop Doggy Dog,
The Residents, The Residents, The Residents, The Residents.
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.