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 Mauritius and from Johannesburg.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Johannesburg.
I'm losing my edge to the art-school London 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Marshall Jefferson to the techno kids.
I played it at the Hacienda.
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 Wolf Eyes. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots 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?
Outsiders,
Minny Pops,
Steve Hackett,
Bootsy Collins,
Television Personalities,
Saccharine Trust,
Rhythim Is Rhythim,
The Dave Clark Five,
the Association,
Kings Of Tomorrow,
Notorious BIG live in Amsterdam,
Glenn Branca,
Lafayette Afro Rock Band,
Massinfluence,
ABC,
The Red Krayola,
Slave,
Girls At Our Best!,
Kayak,
The Move,
Wings,
Pulsallama,
Roy Ayers,
Cecil Taylor,
Gichy Dan,
Alphaville,
Amazonics,
June of 44,
Prince Buster,
Interpol,
Deutsch Amerikanische Freundschaft,
Bobbi Humphrey,
Bobby Womack,
Technova,
DeepChord presents Echospace,
Notorious Big And Bone Thugs,
The Gladiators,
Marc Romboy vs. Booka Shade,
Aural Exciters,
Yazoo,
Pussy Galore,
Fad Gadget,
Joey Negro,
The Electric Prunes,
The Beau Brummels,
Bronski Beat,
Drive Like Jehu,
H. Thieme,
David Axelrod,
The Victims,
Rotary Connection,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Doobie Brothers,
Fort Wilson Riot,
F. McDonald,
Trumans Water,
Teenage Jesus and the Jerks,
The Fortunes,
Ituana,
Pierre Henry,
Barry Ungar,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.