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 Guatemala and from Manchester.
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 1977.
I'm losing my edge.
To all the kids in Spokane and Tokyo.
I'm losing my edge to the art-school Houston 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Parry Music to the funk kids.
I played it at CBGB's.
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 New York Dolls. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every John Coltrane 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 '70s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nas,
John Lydon,
Skarface,
Q and Not U,
Fad Gadget,
Bauhaus,
Electric Light Orchestra,
Lebanon Hanover,
MC5,
Robert Görl,
Amon Düül II,
Jeru the Damaja,
Television Personalities,
Public Image Ltd.,
Eve St. Jones,
Japan,
Jerry's Kids,
Josef K,
Smog,
Gerry Rafferty,
Pagans,
John Foxx,
Strawberry Alarm Clock,
The Raincoats,
Deutsch Amerikanische Freundschaft,
Spoonie Gee,
The Index,
Avey Tare,
Terrestrial Tones,
Mission of Burma,
Lou Reed,
A Certain Ratio,
Bad Manners,
Gang Green,
The Cure,
Eric B and Rakim,
Sight & Sound,
Reuben Wilson,
The West Coast Pop Art Experimental Band,
The Mojo Men,
Jandek,
Moss Icon,
Zero Boys,
Todd Rundgren,
Kevin Saunderson,
Joey Negro,
Minutemen,
Barbara Tucker,
Shoche,
Black Moon,
JFA,
The Remains,
Country Teasers,
Fluxion,
Althea and Donna,
Visionaries,LMNO, T- Love & Iriscience,
David Bowie,
Agitation Free,
Drexciya,
Andrew Hill,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.