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 Slovenia and from Shanghai.
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 1974.
I'm losing my edge.
To all the kids in Copenhagen and Lille.
I'm losing my edge to the art-school Tehran 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the organ 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 Man Parrish to the crunk kids.
I played it at Trash.
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 Scan 7. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Vainqueur record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Cluster,
Kings Of Tomorrow,
Vainqueur,
Desert Stars,
Alison Limerick,
Franke,
Pantaleimon,
Röyhkä ja Rättö ja Lehtisalo,
Red Lorry Yellow Lorry,
New Age Steppers,
Aural Exciters,
Angry Samoans,
Soul II Soul,
Quadrant,
Public Image Ltd.,
The Royal Family And The Poor,
Boogie Down Productions,
Crash Course in Science,
Grandmaster Flash,
Jesper Dahlback,
Audionom,
Sound Behaviour,
Lebanon Hanover,
Livin' Joy,
Louis and Bebe Barron,
Skriet,
Basic Channel,
Absolute Body Control,
Sparks,
L. Decosne,
China Crisis,
Outsiders,
Strawberry Alarm Clock,
OOIOO,
Anthony Braxton,
Supertramp,
The Smoke,
Heaven 17,
The Dave Clark Five,
Crispy Ambulance,
The Remains,
Bang On A Can,
H. Thieme,
The New Christs,
The Cowsills,
Connie Case,
JFA,
Saccharine Trust,
Kayak,
Crime,
Pole,
The Techniques,
Mr. Review,
Gang of Four,
Monks,
The Moody Blues,
The Golliwogs,
the Sonics,
The Blues Magoos,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.