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 Tuvalu and from Bologna.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
I'm losing my edge to the art-school Mexico City 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 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 Chris Corsano 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 Cluster. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Buckinghams,
The Divine Comedy,
Brass Construction,
Absolute Body Control,
Rhythim Is Rhythim,
Underground Resistance,
Johnny Osbourne,
David Axelrod,
Jerry Gold Smith,
the Germs,
Robert Wyatt,
Crash Course in Science,
Moby Grape,
Colin Newman,
Minny Pops,
Hashim,
Lucky Dragons,
the Swans,
Funky Four + One,
Fugazi,
Camberwell Now,
Hot Snakes,
Skaos,
Tubeway Army,
Bluetip,
Goldenarms,
Mark Hollis,
Brothers Johnson,
Bill Near,
The Five Americans,
Anakelly,
Funkadelic,
Japan,
Delta 5,
Easy Going,
Swell Maps,
Marmalade,
Ornette Coleman,
Tropical Tobacco,
Bobby Sherman,
Eric Copeland,
Notorious BIG live in Amsterdam,
The Stooges,
Kings Of Tomorrow,
Oneida,
Niagra,
Duran Duran,
48th St. Collective,
Rekid,
Nils Olav,
The J.B.'s,
Los Fastidios,
Rowland S Howard / Lydia Lunch,
Marc Almond,
Ice-T,
The Cramps,
Toni Rubio,
Andrew Hill,
Fat Boys,
Nico,
John Holt,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.