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 St Lucia and from Sao Paulo.
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 1979.
I'm losing my edge.
To all the kids in Woodstock and Johannesburg.
I'm losing my edge to the art-school Johannesburg 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 theremin 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 Sugar Minott to the crunk 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 Bobby Hutcherson. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiohead,
FM Einheit,
Nils Olav,
Ken Boothe,
The Blues Magoos,
Lou Christie,
A Flock of Seagulls,
The Trojans,
Rapeman,
Amon Düül,
D'Angelo,
Surgeon,
Masters at Work,
Gang of Four,
Grandmaster Flash,
Man Parrish,
Ultra Naté,
Magma,
Maleditus Sound,
Siouxsie and the Banshees,
Liliput,
Cymande,
OOIOO,
The Remains,
Morten Harket,
Faraquet,
Gerry Rafferty,
Monks,
Michelle Simonal,
Sandy B,
Jesper Dahlback,
The Fortunes,
Public Image Ltd.,
Rites of Spring,
Can,
Avey Tare & Kría Brekkan,
Kevin Saunderson,
Niagra,
Joe Smooth,
L. Decosne,
Jacob Miller,
10cc,
Manfred Mann's Earth Band,
Todd Rundgren,
Juan Atkins,
The Kinks,
Essential Logic,
Terrestrial Tones,
Animal Collective,
Pere Ubu,
Sexual Harrassment,
PIL,
Gong,
The Monks,
These Immortal Souls,
Young Marble Giants,
The Neon Judgement,
Fad Gadget,
Bang On A Can,
Barclay James Harvest,
Radio Birdman,
Camouflage,
Country Teasers,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.