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 Namibia and from Columbus.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Portland and Stockholm.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Malaria! to the disco 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 Idris Muhammad. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Chris & Cosey record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lucky Dragons record.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
The New Christs,
Lebanon Hanover,
Stereo Dub,
Deakin,
The Skatalites,
Fat Boys,
The Moleskins,
Derrick Morgan,
Pylon,
Bauhaus,
The Remains,
Qualms,
Mo-Dettes,
Bizarre Inc.,
Hashim,
Ornette Coleman,
Jeru the Damaja,
Minnie Riperton,
Yellowson,
Marshall Jefferson,
Section 25,
Sly & The Family Stone,
Electric Prunes,
Eli Mardock,
Captain Beefheart & His Magic Band,
Derrick May,
Intrusion,
Easy Going,
Absolute Body Control,
Rotary Connection,
Sun Ra,
The Modern Lovers,
Alison Limerick,
Man Eating Sloth,
The Electric Prunes,
The Slits,
Mr. Review,
John Coltrane,
Con Funk Shun,
Crispian St. Peters,
Sugar Minott,
Gary Puckett & The Union Gap,
Vladislav Delay,
Big Daddy Kane,
Orchestral Manoeuvres in the Dark,
R.M.O.,
Johnny Osbourne,
Cymande,
The Wake,
The West Coast Pop Art Experimental Band,
Gang of Four,
Robert Hood,
Gang Green,
The Sonics,
Laurel Aitken,
Isaac Hayes,
Barrington Levy,
Yusef Lateef,
Radiopuhelimet,
Aural Exciters,
Marc Romboy vs. Booka Shade,
The Trojans,
Tears for Fears,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.