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 Guinea and from Johannesburg.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 Toronto and Houston.
I'm losing my edge to the art-school Bremen 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the 808 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 Boogie Down Productions to the grime kids.
I played it at the Hacienda.
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 Jimmy McGriff. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Grey Daturas record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Thompson Twins,
Sarah Menescal,
The Young Rascals,
The Moleskins,
Rekid,
Todd Terry,
Monks,
Television,
The Chocolate Watch Band,
Fort Wilson Riot,
a-ha,
Barbara Tucker,
Tears for Fears,
Lou Reed & John Cale,
Tubeway Army,
Sparks,
Excepter,
Barry Ungar,
Porter Ricks,
Crime,
Kas Product,
James White and The Blacks,
Anthony Braxton,
Jesper Dahlback,
The Gap Band,
Josef K,
The Monks,
The Dirtbombs,
Infiniti,
The Buckinghams,
Sunsets and Hearts,
The Index,
Skaos,
Alison Limerick,
The Trojans,
Robert Wyatt,
Johnny Osbourne,
Whodini,
The Durutti Column,
Wire,
Rahsaan Roland Kirk,
Justin Hinds & The Dominoes,
Susan Cadogan,
kango's stein massive,
The Tremeloes,
Dr. Dre and Snoop Doggy Dog,
Aural Exciters,
Reagan Youth,
The Move,
Pere Ubu,
Michelle Simonal,
Radiohead,
Alton Ellis,
Archie Shepp,
Fad Gadget,
The Remains,
Liliput,
London Community Gospel Choir,
Ohio Players,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.