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 Austria and from Paris.
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 1973.
I'm losing my edge.
To all the kids in Taipei and Bologna.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the linndrum 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 DeepChord presents Echospace to the funk 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 Patti Smith. All the underground hits.
All The Buckinghams tracks. I heard you have a vinyl of every The Gories record on German import.
I heard that you have a white label of every seminal rap 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 guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Sister Nancy,
Joe Smooth,
Röyhkä ja Rättö ja Lehtisalo,
The Offenders,
Eurythmics,
Matthew Bourne,
The Men They Couldn't Hang,
Main Source,
Little Man,
Joyce Sims,
Tomorrow,
OOIOO,
Q65,
Guru Guru,
Jeff Lynne,
Fat Boys,
The Dirtbombs,
The Electric Prunes,
Symarip,
Bill Near,
Yusef Lateef,
Teenage Jesus and the Jerks,
Das Ding,
Marine Girls,
The Black Dice,
The Neon Judgement,
Judy Mowatt,
the Soft Cell,
Depeche Mode,
DNA,
Au Pairs,
Robert Wyatt,
Flash Fearless,
Andrew Hill,
The Misunderstood,
Alphaville,
Barclay James Harvest,
Deutsch Amerikanische Freundschaft,
Yaz,
Cheater Slicks,
The Move,
Tommy Roe,
Red Lorry Yellow Lorry,
Roger Hodgson,
Ponytail,
The Human League,
Ohio Players,
ABBA,
June Days,
Harpers Bizarre,
Slave,
Stockholm Monsters,
Mission of Burma,
Laurel Aitken,
Zapp,
Lakeside,
X-101,
Animal Collective,
Warren Ellis,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.