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 St Lucia and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1975.
I'm losing my edge.
To all the kids in Hong Kong and Paris.
I'm losing my edge to the art-school Hong Kong 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Pharoah Sanders to the jazz kids.
I played it at the Spitz.
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 Quantec. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every The Dead C record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dennis Brown,
Pantaleimon,
Pylon,
Aloha Tigers,
Wighnomy Brothers & Robag Wruhme,
Gabor Szabo,
Crash Course in Science,
This Heat,
Stereo Dub,
Kool Moe Dee,
Marshall Jefferson,
Leonard Cohen,
Crispy Ambulance,
Sex Pistols,
Ornette Coleman,
Q65,
Alice Coltrane,
AZ,
Rosa Yemen,
Arab on Radar,
Audionom,
KRS-One,
Intrusion,
Sister Nancy,
Buzzcocks,
Cal Tjader,
Freddie Wadling,
Blancmange,
Flipper,
Lalann,
The Royal Family And The Poor,
Echo & the Bunnymen,
David Axelrod,
Janne Schatter,
Joey Negro,
Ronnie Foster,
Yazoo,
Skriet,
Rapeman,
Bob Dylan,
Hashim,
Skaos,
The Residents,
Sun Ra,
Connie Case,
Thompson Twins,
Average White Band,
Charles Mingus,
Tom Boy,
Saccharine Trust,
Fort Wilson Riot,
The Searchers,
Liliput,
Orchestral Manoeuvres in the Dark,
PIL,
Black Bananas,
Matthew Bourne,
Aswad,
The Toasters,
The Tremeloes,
Mr. Review,
The United States of America,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.