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 Peru and from Beijing.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1979.
I'm losing my edge.
To all the kids in Copenhagen and Hong Kong.
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 sitar 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 Strawberry Alarm Clock to the rock kids.
I played it at the Astoria.
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 Neil Young. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Intrusion 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 '80s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler 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?
Major Organ And The Adding Machine,
Joe Smooth,
Unrelated Segments,
Kurtis Blow,
China Crisis,
Black Flag,
The Peanut Butter Conspiracy,
Grey Daturas,
June Days,
Massinfluence,
Half Japanese,
David Axelrod,
Gary Puckett & The Union Gap,
Isaac Hayes,
Susan Cadogan,
Mantronix,
Technova,
Fifty Foot Hose,
PIL,
Mo-Dettes,
Barry Ungar,
The Pretty Things,
Joe Finger,
Avey Tare's Slasher Flicks,
Stereo Dub,
Talk Talk,
L. Decosne,
Chris & Cosey,
Letta Mbulu,
Public Image Ltd.,
Terror Squad Feat. Camron,
Joey Negro,
Lyres,
The Motions,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Grandmaster Flash,
Lalann,
The Skatalites,
Mad Mike,
Sarah Menescal,
Joyce Sims,
The Slits,
Electric Light Orchestra,
Cecil Taylor,
Tears for Fears,
The Busters,
John Holt,
The Sonics,
Ten City,
The Selecter,
Crash Course in Science,
The Searchers,
Depeche Mode,
Albert Ayler,
Bobby Byrd,
Rowland S Howard / Lydia Lunch,
Swans,
Eve St. Jones,
DNA,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.