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 Mauritania and from Manchester.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school Copenhagen 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 oboe sounds with much patience.
I was there when David Bowie 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 Johnny Osbourne to the grunge kids.
I played it at CBGB's.
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 Dahlbäck. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every John Holt 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Echospace record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Liaisons Dangereuses,
Negative Approach,
Traffic Nightmare,
Quantec,
the Germs,
Zapp,
Marc Romboy vs. Booka Shade,
Boz Scaggs,
Kayak,
Alice Coltrane,
Ultravox,
X-Ray Spex,
Brass Construction,
DeepChord presents Echospace,
Amon Düül,
the Sonics,
Gerry Rafferty,
Tears for Fears,
Rowland S Howard / Lydia Lunch,
Ronnie Foster,
Gil Scott Heron,
Cabaret Voltaire,
Grandmaster Flash and the Furious Five,
Crash Course in Science,
Kaleidoscope,
Matthew Bourne,
Archie Shepp,
The Barracudas,
Soft Machine,
Dorothy Ashby,
Gil Scott-Heron and Jamie xx,
The Gun Club,
Glambeats Corp.,
Todd Rundgren,
New York Dolls,
Crispy Ambulance,
Pharaoh Sanders and the Fire Engines,
Kas Product,
The Fugs,
Iggy Pop,
The J.B.'s,
Infiniti,
The Real Kids,
ABC,
The Doobie Brothers,
the Swans,
Oblivians,
Tropical Tobacco,
U.S. Maple,
Black Flag,
Television Personalities,
Ultramagnetic MC's,
Derrick May,
Spoonie Gee,
Organ,
The Mighty Diamonds,
Tommy Roe,
Danielle Patucci,
Flash Fearless,
Zero Boys,
Motorama,
The Motions, The Motions, The Motions, The Motions.
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.