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 Hungary and from Portland.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Lyon and Halifax.
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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 James White and The Blacks to the dance kids.
I played it at the Hacienda.
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 Divine Comedy. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Brick record on German import.
I heard that you have a white label of every seminal dance 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 a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
The Seeds,
Hashim,
Bang On A Can,
EPMD,
ABBA,
Quantec,
Grandmaster Flash and the Furious Five,
Bizarre Inc.,
Sexual Harrassment,
Surgeon,
Fela Kuti,
The Wake,
Girls At Our Best!,
Joe Smooth,
Technova,
Panda Bear,
Jerry Gold Smith,
Lalo Schifrin,
Cabaret Voltaire,
Rotary Connection,
Alison Limerick,
Supertramp,
Scientists,
Malaria!,
Pere Ubu,
X-101,
Barrington Levy,
Ten City,
Whodini,
Curtis Mayfield,
Japan,
The Beau Brummels,
Zero Boys,
Terror Squad Feat. Camron,
Essential Logic,
Nik Kershaw,
Lalann,
Siglo XX,
48th St. Collective,
Joy Division,
The Mojo Men,
Junior Murvin,
The Zeros,
Sugar Minott,
Crime,
Gastr Del Sol,
John Holt,
The Selecter,
Dual Sessions,
Thinking Fellers Union Local 282,
Soulsonic Force,
Matthew Halsall,
The Toasters,
Oneida,
The Count Five,
Fat Boys,
Fad Gadget,
The Victims,
Los Fastidios,
Crash Course in Science,
Lou Christie,
The Angels of Light,
Darondo, Darondo, Darondo, Darondo.
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.