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 San Marino and from Manchester.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
I'm losing my edge to the art-school Woodstock 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 1973 at the first Television practice in a loft in New York.
I was working on the marimba 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 Kenny Larkin to the electroclash kids.
I played it at the Astoria.
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 The Sound. All the underground hits.
All The Raincoats tracks. I heard you have a vinyl of every Aaron Thompson 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Scrapy record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Soul II Soul,
the Human League,
The Seeds,
Sight & Sound,
DNA,
Michelle Simonal,
Pantytec,
Boredoms,
Slick Rick,
Terry Callier,
Ultravox,
Spoonie Gee,
Drexciya,
David Axelrod,
Kayak,
The Skatalites,
Traffic Nightmare,
The Names,
Quantec,
Gabor Szabo,
Agent Orange,
Erykah Badu,
the Soft Cell,
Black Flag,
Liaisons Dangereuses,
DJ Style,
Television,
Talk Talk,
UT,
Black Sheep,
Adolescents,
Sun City Girls,
Thee Headcoats,
Crime,
Technova,
The Gladiators,
Maleditus Sound,
Lou Reed & John Cale,
Red Lorry Yellow Lorry,
Arab on Radar,
Moss Icon,
Sound Behaviour,
Cabaret Voltaire,
Flash Fearless,
Neu!,
Captain Beefheart & His Magic Band,
Whodini,
Rhythim Is Rhythim,
Intrusion,
Camouflage,
Agitation Free,
Q65,
The Wake,
Steve Hackett,
Andrew Ashong & Theo Parrish,
Derrick Morgan,
The Durutti Column,
Fad Gadget,
The Alarm Clocks,
Dawn Penn,
The Dead C,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.