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 Luxembourg and from Portland.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Madrid.
I'm losing my edge to the art-school Delhi 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 1973 at the first Television practice in a loft in New York.
I was working on the güiro 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 Half Japanese to the jazz kids.
I played it at Cafe Wha.
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 De La Soul & Jungle Brothers tracks. I heard you have a vinyl of every Malaria! 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 a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
Stiv Bators,
Anthony Braxton,
Funkadelic,
DJ Style,
Jesper Dahlback,
Stereo Dub,
Suicide,
Jesper Dahlbäck,
London Community Gospel Choir,
Scratch Acid,
Max Romeo,
Deutsch Amerikanische Freundschaft,
T.S.O.L.,
The Pretty Things,
Don Cherry,
Pet Shop Boys,
The Cure,
Strawberry Alarm Clock,
David Axelrod,
Matthew Bourne,
MC5,
Absolute Body Control,
Marine Girls,
The Divine Comedy,
Dennis Brown,
Masters at Work,
The Monochrome Set,
Laurel Aitken,
The Fire Engines,
The Trojans,
Peter and Kerry,
The West Coast Pop Art Experimental Band,
Skriet,
The Names,
Danielle Patucci,
The Gap Band,
The Sonics,
Section 25,
Fat Boys,
Donny Hathaway,
Toni Rubio,
Harmonia,
Major Organ And The Adding Machine,
Rufus Thomas,
The Flesh Eaters,
Shoche,
Mandrill,
Joensuu 1685,
The Cowsills,
Youth Brigade,
The Blues Magoos,
Black Bananas,
Eurythmics,
Fela Kuti,
Jeff Mills,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Index,
John Foxx,
Lalann,
Junior Murvin,
the Association,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.