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 Nauru and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Spokane.
I'm losing my edge to the art-school Philadelphia 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 snare 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 Eden Ahbez to the funk kids.
I played it at Trash.
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 Grey Daturas. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every The Cure record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slackers,
Roy Ayers,
Unrelated Segments,
Art Ensemble Of Chicago,
Newcleus,
Q and Not U,
Orchestral Manoeuvres in the Dark,
Deepchord,
Icehouse,
the Soft Cell,
Tomorrow,
Frankie Knuckles,
Scan 7,
Liliput,
Derrick May,
Terrestrial Tones,
Hasil Adkins,
Gong,
Johnny Osbourne,
Marc Romboy vs. Booka Shade,
the Fania All-Stars,
Eddi Front,
Kango’s Stein Massive,
Popol Vuh,
The Vogues,
La Düsseldorf,
Bluetip,
The Gories,
U.S. Maple,
Amon Düül,
kango's stein massive,
Desert Stars,
Josef K,
the Sonics,
The Index,
the Bar-Kays,
Cal Tjader,
Quantec,
Jacques Brel,
Flamin' Groovies,
Bill Wells,
Talk Talk,
Soft Machine,
Oppenheimer Analysis,
The Sisters of Mercy,
Mad Mike,
the Normal,
Sparks,
Ossler,
Metal Thangz,
Kool G Rap & DJ Polo,
Jandek,
Kevin Saunderson,
Davy DMX,
Scion,
Gil Scott-Heron & Brian Jackson,
New Order,
Malaria!,
Amazonics,
Marvin Gaye,
The West Coast Pop Art Experimental Band,
Mars, Mars, Mars, Mars.
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.