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 Glasgow.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Jakarta.
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 snare 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 Newcleus to the disco kids.
I played it at the 40 Watt.
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 Reuben Wilson. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Fad Gadget 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
Robert Hood,
the Association,
Q and Not U,
Pussy Galore,
H. Thieme,
Sun Ra,
Thompson Twins,
Kevin Saunderson,
Sarah Menescal,
Little Man,
The Invisible,
X-101,
Agent Orange,
Electric Light Orchestra,
Radiohead,
The Smoke,
X-Ray Spex,
Kenny Larkin,
The Busters,
Mad Mike,
Scott Walker + Sunn O))),
Marmalade,
Lee Hazlewood,
Carl Craig,
Crash Course in Science,
The Fuzztones,
Q65,
ABC,
The West Coast Pop Art Experimental Band,
Eric B and Rakim,
Leonard Cohen,
Archie Shepp,
Anakelly,
Chris & Cosey,
Rufus Thomas,
Bootsy Collins,
Monolake,
The Cramps,
Tom Boy,
Kool G Rap & DJ Polo,
Crispian St. Peters,
Sandy B,
Soulsonic Force,
Scrapy,
Pere Ubu,
Wally Richardson,
Vainqueur,
Youth Brigade,
Joy Division,
Gang Starr,
Ultimate Spinach,
The Happenings,
Ossler,
Strawberry Alarm Clock,
The Moody Blues,
Television,
Deadbeat,
Make Up,
Lou Reed & Metallica,
Amazonics, Amazonics, Amazonics, Amazonics.
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.