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 Cambodia and from Lagos.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Houston and Delhi.
I'm losing my edge to the art-school Columbus 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Maleditus Sound to the techno kids.
I played it at the Spitz.
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 Bluetip. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal grime 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 chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
Ronan,
Joe Smooth,
Donald Byrd,
Laurel Aitken,
Soft Machine,
The Fuzztones,
Rowland S Howard / Lydia Lunch,
The Cosmic Jokers,
The Stooges,
Graham Central Station,
Kango’s Stein Massive,
London Community Gospel Choir,
U.S. Maple,
Oppenheimer Analysis,
Flamin' Groovies,
Porter Ricks,
Half Japanese,
Visionaries,LMNO, T- Love & Iriscience,
Reuben Wilson,
Public Image Ltd.,
Reagan Youth,
Boogie Down Productions,
Pere Ubu,
Symarip,
Brass Construction,
Public Enemy,
The Pretty Things,
Nas,
David Axelrod,
Peter and Kerry,
Rosa Yemen,
Carl Craig,
FM Einheit,
Johnny Osbourne,
Sound Behaviour,
The Chocolate Watch Band,
Barry Ungar,
Rhythim Is Rhythim,
Banda Bassotti,
Excepter,
The Cramps,
Minutemen,
Eddi Front,
The Barracudas,
The Martian,
Jeff Mills,
Fifty Foot Hose,
Parry Music,
Pharaoh Sanders and the Fire Engines,
The Mighty Diamonds,
Jesper Dahlbäck,
Desert Stars,
Bobby Byrd,
Kauko Röyhkä ja Narttu,
Alphaville,
Scion,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.