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 South Africa and from Mexico City.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Copenhagen.
I'm losing my edge to the art-school Paris 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 marimba 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 Isaac Hayes to the disco 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 FM Einheit. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Notorious Big And Bone Thugs,
Yellowson,
Jandek,
The Slackers,
Section 25,
One Last Wish,
Albert Ayler,
The Beau Brummels,
Drexciya,
Be Bop Deluxe,
Silicon Teens,
Stockholm Monsters,
China Crisis,
Marcia Griffiths,
Eurythmics,
Smog,
Rahsaan Roland Kirk,
Clear Light,
Camouflage,
Idris Muhammad,
Eric Dolphy,
Sister Nancy,
MDC,
Faust,
Organ,
K-Klass,
Roy Ayers,
Röyhkä ja Rättö ja Lehtisalo,
Zapp,
The Gladiators,
Niagra,
Letta Mbulu,
Y Pants,
the Soft Cell,
Eric Copeland,
Dorothy Ashby,
OOIOO,
The Gories,
Massinfluence,
Marshall Jefferson,
Black Flag,
Richard Hell and the Voidoids,
Susan Cadogan,
Procol Harum,
The Blues Magoos,
Country Joe & The Fish,
Kenny Larkin,
Spoonie Gee,
Duran Duran,
Janne Schatter,
Ralphi Rosario,
James White and The Blacks,
Chrome,
Hashim,
Lonnie Liston Smith,
David Bowie,
E-Dancer,
The Dead C,
Glambeats Corp.,
Ronan,
Jesper Dahlbäck,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.