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 Lesotho and from Accra.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Manchester and Accra.
I'm losing my edge to the art-school Milan 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 arpeggiator 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 punk kids.
I played it at the Roxy.
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 Jesper Dahlback. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Procol Harum record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Soft Machine,
Black Pus,
Scan 7,
Monks,
The Monks,
F. McDonald,
Wighnomy Brothers & Robag Wruhme,
Red Lorry Yellow Lorry,
Super Lover Cee & Casanova Rud,
Audionom,
the Swans,
The Stooges,
the Fania All-Stars,
These Immortal Souls,
Nico,
Bill Wells,
The Moody Blues,
Zapp,
Gil Scott-Heron & Brian Jackson,
Jacob Miller,
Little Man,
Japan,
The West Coast Pop Art Experimental Band,
The Young Rascals,
a-ha,
Shuggie Otis,
Country Joe & The Fish,
Pantytec,
James Chance & The Contortions,
Jacques Brel,
Nik Kershaw,
The Music Machine,
Section 25,
Clear Light,
Gastr Del Sol,
Kurtis Blow,
Pantaleimon,
Black Sheep,
Röyhkä ja Rättö ja Lehtisalo,
Dennis Brown,
JFA,
The Sound,
Tubeway Army,
Subhumans,
The Misunderstood,
The Human League,
Avey Tare & Kría Brekkan,
Dawn Penn,
Schoolly D,
Roy Ayers Ubiquity,
The Smiths,
Monolake,
Maleditus Sound,
Soulsonic Force,
Babytalk,
Yaz,
AZ,
Laurel Aitken,
Gabor Szabo,
Vainqueur,
Flash Fearless,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.