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 Malaysia and from Philadelphia.
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 1974.
I'm losing my edge.
To all the kids in Lille and Salvador.
I'm losing my edge to the art-school Philadelphia 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 Big Star practice in a loft in Memphis.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Smoke to the disco 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 Glenn Branca. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal disco 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 an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Lou Reed & Metallica,
Curtis Mayfield,
Electric Prunes,
Rufus Thomas,
Deakin,
Idris Muhammad,
Hasil Adkins,
Pharaoh Sanders and the Fire Engines,
Sixth Finger,
Terror Squad Feat. Camron,
Bang On A Can,
Heaven 17,
Man Eating Sloth,
Flamin' Groovies,
Liaisons Dangereuses,
Supertramp,
Desert Stars,
Captain Beefheart & His Magic Band,
PIL,
Skaos,
Bang on a Can All-Stars,
ABC,
Electric Light Orchestra,
Das Ding,
OOIOO,
Nas,
Andrew Hill,
The Slits,
Fad Gadget,
Mary Jane Girls,
The Jesus and Mary Chain,
Radio Birdman,
Monolake,
Amon Düül II,
Frankie Knuckles,
Accadde A,
Soft Cell,
The Detroit Cobras,
Dr. Dre and Snoop Doggy Dog,
Gregory Isaacs,
Black Flag,
Grauzone,
Lucky Dragons,
Con Funk Shun,
The Royal Family And The Poor,
X-Ray Spex,
The Five Americans,
Cabaret Voltaire,
Television,
Kool Moe Dee,
The Sisters of Mercy,
Marcia Griffiths,
Anthony Braxton,
Scratch Acid,
Robert Wyatt,
Sparks,
K-Klass,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.