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 Colombia and from Tokyo.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Columbus and Accra.
I'm losing my edge to the art-school Accra 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the chamberlin 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 The Walker Brothers to the grime kids.
I played it at the Crocodile.
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 PIL. All the underground hits.
All Echospace tracks. I heard you have a vinyl of every cv313 record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your linndrum and bought a snare.
I hear that you and your band have sold your snare and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Lafayette Afro Rock Band,
New York Dolls,
James Chance & The Contortions,
The Raincoats,
Franke,
Zero Boys,
Gil Scott Heron,
The Blackbyrds,
Eric Dolphy,
Young Marble Giants,
Henry Cow,
Gerry Rafferty,
The Peanut Butter Conspiracy,
Skriet,
Icehouse,
Deutsch Amerikanische Freundschaft,
Newcleus,
Bobby Byrd,
PIL,
Sam Rivers,
The Gap Band,
Flash Fearless,
Alphaville,
Glambeats Corp.,
Drexciya,
Boogie Down Productions,
The Cowsills,
Qualms,
Curtis Mayfield,
Spandau Ballet,
The Skatalites,
MC5,
Lee Hazlewood,
Deepchord,
Monolake,
The Cramps,
Neil Young,
The Jesus and Mary Chain,
Radio Birdman,
Susan Cadogan,
Tom Boy,
Guru Guru,
Art Ensemble Of Chicago,
The Dirtbombs,
Marc Almond,
Oblivians,
Manfred Mann's Earth Band,
Buzzcocks,
Letta Mbulu,
The Standells,
Sly & The Family Stone,
The Fall,
Das Ding,
Niagra,
The Techniques,
Sad Lovers and Giants,
The Slits,
James White and The Blacks,
Marvin Gaye,
World's Most,
Japan, Japan, Japan, Japan.
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.