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 Romania and from Cairo.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Seoul and Mumbai.
I'm losing my edge to the art-school Houston 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 1978 at the first Visage practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Bobby Womack to the funk kids.
I played it at the Troubador.
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 Kenny Larkin. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every Althea and Donna 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 '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Oneida,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Gun Club,
Accadde A,
the Normal,
Ralphi Rosario,
Spandau Ballet,
Depeche Mode,
Chris & Cosey,
Minor Threat,
Marmalade,
Janne Schatter,
The Human League,
The Searchers,
Sun Ra,
Charles Mingus,
Johnny Osbourne,
Popol Vuh,
The Associates,
Kings Of Tomorrow,
Moss Icon,
Cecil Taylor,
The Offenders,
Thompson Twins,
Quando Quango,
Arthur Verocai,
Khruangbin,
Dark Day,
Louis and Bebe Barron,
10cc,
The Durutti Column,
Black Sheep,
The Birthday Party,
Malaria!,
Amon Düül II,
Rhythim Is Rhythim,
Ohio Players,
Young Marble Giants,
Nation of Ulysses,
Inner City,
Hardrive,
Idris Muhammad,
Tommy Roe,
R.M.O.,
FM Einheit,
Organ,
Ice-T,
Juan Atkins,
a-ha,
The Jesus and Mary Chain,
The Dave Clark Five,
Procol Harum,
Oppenheimer Analysis,
Jeff Lynne,
Connie Case,
Lafayette Afro Rock Band,
Frankie Knuckles,
Echospace,
Fat Boys,
Sexual Harrassment,
Angry Samoans,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.