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 Egypt and from Toronto.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Paris and Salvador.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 Fania All-Stars to the jazz kids.
I played it at the Crocodile.
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 Crooked Eye. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every the Swans 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 '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visionaries,LMNO, T- Love & Iriscience,
Amon Düül II,
Skaos,
Delon & Dalcan,
Vladislav Delay,
Au Pairs,
Isaac Hayes,
the Association,
Los Fastidios,
Rahsaan Roland Kirk,
Marmalade,
Prince Buster,
Red Lorry Yellow Lorry,
Lizzy Mercier Descloux,
Pere Ubu,
London Community Gospel Choir,
Eurythmics,
Moby Grape,
Section 25,
Goldenarms,
Monks,
Danielle Patucci,
Stetsasonic,
James White and The Blacks,
Notorious Big And Bone Thugs,
Main Source,
Lindisfarne,
Grandmaster Flash and the Furious Five,
10cc,
Bad Manners,
Gang Starr,
Darondo,
Little Man,
Michelle Simonal,
Subhumans,
The Selecter,
Kerrie Biddell,
Nik Kershaw,
Accadde A,
Crime,
La Düsseldorf,
The Raincoats,
Skriet,
Mad Mike,
Wire,
F. McDonald,
Liaisons Dangereuses,
Scion,
Newcleus,
Brand Nubian,
Todd Rundgren,
Pierre Henry,
Avey Tare,
Freddie Wadling,
The Music Machine,
Girls At Our Best!,
Joe Smooth,
The Doors,
Excepter,
The Cramps,
ABBA,
Rhythm & Sound,
Unwound, Unwound, Unwound, Unwound.
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.