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 Mongolia and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1971.
I'm losing my edge.
To all the kids in Manchester and New York.
I'm losing my edge to the art-school Accra 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 Robert Palmer 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 Erasure to the grime 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 Agent Orange. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every Vaughan Mason & Crew record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
Theoretical Girls,
Bill Wells,
Michelle Simonal,
Monolake,
The Mummies,
Fugazi,
Quantec,
Boredoms,
June of 44,
Fort Wilson Riot,
Ohio Players,
Henry Cow,
Von Mondo,
Japan,
Deutsch Amerikanische Freundschaft,
Gerry Rafferty,
The Music Machine,
the Association,
Susan Cadogan,
Todd Terry,
ABC,
Gang Gang Dance,
Morten Harket,
Graham Central Station,
The Fortunes,
Gary Puckett & The Union Gap,
Kings Of Tomorrow,
Das Ding,
The Detroit Cobras,
Traffic Nightmare,
Shuggie Otis,
10cc,
The Smoke,
Sun Ra Arkestra,
Roxette,
Danielle Patucci,
Procol Harum,
Alice Coltrane,
Man Eating Sloth,
David Bowie,
Ronnie Foster,
Absolute Body Control,
Beasts of Bourbon,
The Monks,
Clear Light,
Minnie Riperton,
Groovy Waters,
Section 25,
The Doobie Brothers,
Essential Logic,
Gil Scott Heron,
Wings,
Lindisfarne,
The Cosmic Jokers,
Suburban Knight,
the Normal,
Soul Sonic Force,
Severed Heads,
Rhythim Is Rhythim,
Swell Maps,
Electric Prunes,
Moebius, Moebius, Moebius, Moebius.
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.