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 Bahrain and from Manila.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1976.
I'm losing my edge.
To all the kids in Stockholm and Cairo.
I'm losing my edge to the art-school Taipei 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 marimba 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 Martian to the grime 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 Arab on Radar. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Swell Maps record on German import.
I heard that you have a white label of every seminal techno 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 snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Los Fastidios,
Gil Scott Heron,
Bobbi Humphrey,
Lou Christie,
Audionom,
Severed Heads,
KRS-One,
The Durutti Column,
The Gap Band,
Sugar Minott,
The Human League,
Skriet,
Blossom Toes,
Gastr Del Sol,
Todd Rundgren,
Cameo,
Traffic Nightmare,
Sad Lovers and Giants,
Deadbeat,
Wasted Youth,
Marcia Griffiths,
DNA,
The American Breed,
Ultramagnetic MC's,
Terry Callier,
Unrelated Segments,
Danielle Patucci,
The Blues Magoos,
DJ Sneak,
The Raincoats,
Kurtis Blow,
Zero Boys,
Deutsch Amerikanische Freundschaft,
Crispian St. Peters,
Pylon,
Faust,
John Lydon,
Scott Walker + Sunn O))),
Reagan Youth,
Frankie Knuckles,
Ituana,
The Smiths,
Black Flag,
Ludus,
Susan Cadogan,
The Jesus and Mary Chain,
Nik Kershaw,
The Alarm Clocks,
The Knickerbockers,
Eurythmics,
Marc Romboy vs. Booka Shade,
Junior Murvin,
Ronnie Foster,
James White and The Blacks,
Neil Young & Crazy Horse,
Pharoah Sanders,
EPMD,
Jeru the Damaja,
The Doors,
Silicon Teens,
Model 500, Model 500, Model 500, Model 500.
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.