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 Bahrain and from London.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1977.
I'm losing my edge.
To all the kids in Hong Kong and Philadelphia.
I'm losing my edge to the art-school Shanghai 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the guitar 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 Scott Walker to the dance kids.
I played it at the 40 Watt.
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 Man Eating Sloth. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Swans record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
The Index,
Danielle Patucci,
The Skatalites,
Josef K,
Traffic Nightmare,
The Gories,
Procol Harum,
Albert Ayler,
The Doors,
Dual Sessions,
Urselle,
Vladislav Delay,
T. Rex,
Organ,
MC5,
Television,
Altered Images,
Roxette,
Fela Kuti,
It's A Beautiful Day,
Beasts of Bourbon,
Freddie Wadling,
Bootsy Collins,
La Düsseldorf,
The Human League,
Magma,
Drexciya,
Selector Dub Narcotic,
Saccharine Trust,
The Martian,
Blossom Toes,
Sad Lovers and Giants,
OOIOO,
Tropical Tobacco,
Funkadelic,
Sex Pistols,
Quando Quango,
Joensuu 1685,
Bob Dylan,
Bill Near,
Marc Almond,
Rotary Connection,
Fugazi,
The Mummies,
The Dirtbombs,
London Community Gospel Choir,
Wighnomy Brothers & Robag Wruhme,
Derrick Morgan,
Can,
Dave Gahan,
U.S. Maple,
Sugar Minott,
Roger Hodgson,
Lyres,
Niagra,
Public Image Ltd.,
Schoolly D,
Ultravox,
Half Japanese,
Lizzy Mercier Descloux,
The Last Poets,
Camberwell Now,
Goldenarms,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.