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 United Kingdom and from Stockholm.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Taipei and Seoul.
I'm losing my edge to the art-school Spokane 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the arpeggiator 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 Black Moon to the dance kids.
I played it at the 40 Watt.
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 Lucky Dragons. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Oppenheimer Analysis record on German import.
I heard that you have a white label of every seminal punk 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 snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a the Sonics record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Monolake,
Beasts of Bourbon,
Gil Scott Heron,
Masters at Work,
Lou Christie,
Avey Tare & Kría Brekkan,
The Index,
Cluster,
Fela Kuti,
Jesper Dahlbäck,
the Normal,
Bush Tetras,
Model 500,
Isaac Hayes,
Urselle,
Eric Copeland,
a-ha,
L. Decosne,
Big Daddy Kane,
Joyce Sims,
Warren Ellis,
Thompson Twins,
AZ,
Rufus Thomas,
Pete Rock & C.L. Smooth,
Shuggie Otis,
Stockholm Monsters,
Lebanon Hanover,
Sight & Sound,
Kango’s Stein Massive,
Gichy Dan,
Barrington Levy,
Bad Manners,
Average White Band,
Popol Vuh,
Goldenarms,
The Fugs,
The Pop Group,
Desert Stars,
Sticky Fingaz feat. Raekwon,
the Association,
Lou Reed & John Cale,
Rod Modell,
Brick,
Pet Shop Boys,
Drexciya,
Cameo,
Gang Starr,
Lonnie Liston Smith,
Cecil Taylor,
Juan Atkins,
Basic Channel,
Neil Young,
Camberwell Now,
The Kinks,
Strawberry Alarm Clock,
Steve Hackett,
Radio Birdman,
Nas,
Selector Dub Narcotic,
Robert Wyatt,
The Move, The Move, The Move, The Move.
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.