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 Mexico and from Delhi.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Manchester and Beijing.
I'm losing my edge to the art-school Tokyo 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 Donald Fagen 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 Guru Guru to the dance kids.
I played it at the Astoria.
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 Dual Sessions. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Neil Young & Crazy Horse record on German import.
I heard that you have a white label of every seminal funk 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 theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Bobbi Humphrey record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
Beasts of Bourbon,
Ash Ra Tempel,
Cybotron,
Funky Four + One,
Soft Cell,
Camouflage,
The Red Krayola,
Notorious Big And Bone Thugs,
June of 44,
Bluetip,
Magazine,
The Pop Group,
Connie Case,
the Swans,
Michelle Simonal,
Main Source,
the Slits,
Vaughan Mason & Crew,
The Happenings,
Rapeman,
Neil Young & Crazy Horse,
Excepter,
The Sisters of Mercy,
The Grass Roots,
Crash Course in Science,
Terrestrial Tones,
Clear Light,
Pantaleimon,
Erasure,
Lafayette Afro Rock Band,
Schoolly D,
Patti Smith,
Thompson Twins,
Quadrant,
Cecil Taylor,
Harry Pussy,
Easy Going,
Heavy D & The Boyz,
Teenage Jesus and the Jerks,
The Toasters,
Little Man,
Guru Guru,
Nas,
Ituana,
Thee Headcoats,
Stereo Dub,
Arcadia,
Echo & the Bunnymen,
The Cosmic Jokers,
DNA,
Echospace,
Moebius,
the Human League,
Red Lorry Yellow Lorry,
Rosa Yemen,
Porter Ricks,
Lindisfarne,
The Sonics,
Mark Hollis,
Roxette,
Don Cherry,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.