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 Kazakhstan and from Portland.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1979.
I'm losing my edge.
To all the kids in Tehran and Hong Kong.
I'm losing my edge to the art-school Manchester 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 harpsichord 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 the Association to the grunge 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 Y Pants. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Man Parrish 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 marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
Neu!,
Grandmaster Flash and the Furious Five,
Pantaleimon,
Andrew Ashong & Theo Parrish,
La Düsseldorf,
Lou Reed & Metallica,
Clear Light,
E-Dancer,
U.S. Maple,
Bobby Womack,
Jesper Dahlback,
the Bar-Kays,
The Fortunes,
Warren Ellis,
T. Rex,
Pere Ubu,
New Age Steppers,
Marshall Jefferson,
Thompson Twins,
The Beau Brummels,
Japan,
Lucky Dragons,
10cc,
Jeru the Damaja,
The Smoke,
World's Most,
These Immortal Souls,
Röyhkä ja Rättö ja Lehtisalo,
Infiniti,
Pulsallama,
Radiopuhelimet,
Tom Boy,
Richard Hell and the Voidoids,
Rod Modell,
This Heat,
The Kinks,
Max Romeo,
Visionaries,LMNO, T- Love & Iriscience,
Al Stewart,
Drexciya,
Essential Logic,
Ash Ra Tempel,
Peter Gordon & Love of Life Orchestra,
the Normal,
Matthew Bourne,
EPMD,
Index,
Jimmy McGriff,
Andrew Hill,
The Chocolate Watch Band,
Amon Düül II,
Rakim,
Be Bop Deluxe,
AZ,
Gang Gang Dance,
The Fire Engines,
Altered Images,
Tim Buckley,
The Cramps, The Cramps, The Cramps, The Cramps.
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.