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 Chad and from Delhi.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Paris and Calgary.
I'm losing my edge to the art-school Johannesburg 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 snare 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 Quadrant to the grime kids.
I played it at the Astoria.
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 John Coltrane. All the underground hits.
All The Knickerbockers tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an organ 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 theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maurizio,
The Gun Club,
Röyhkä ja Rättö ja Lehtisalo,
Pete Rock & C.L. Smooth,
June of 44,
Sandy B,
Tommy Roe,
Crash Course in Science,
CMW,
Mad Mike,
The Blues Magoos,
The Music Machine,
Lou Christie,
Dark Day,
Orchestral Manoeuvres in the Dark,
H. Thieme,
Fear,
Hoover,
DJ Sneak,
Heaven 17,
Justin Hinds & The Dominoes,
Graham Central Station,
Roger Hodgson,
Liliput,
Pylon,
Laurel Aitken,
Black Bananas,
X-Ray Spex,
Con Funk Shun,
Adolescents,
Terrestrial Tones,
Scott Walker,
Monolake,
The Golliwogs,
Anakelly,
Amon Düül,
Jeff Lynne,
Jandek,
Khruangbin,
Black Sheep,
Main Source,
Flash Fearless,
The Real Kids,
The Toasters,
the Association,
The Motions,
Pagans,
The Misunderstood,
The Velvet Underground,
PIL,
LL Cool J,
Gang of Four,
Sound Behaviour,
Organ,
Dave Gahan,
Radio Birdman,
Agitation Free,
Jesper Dahlbäck,
Dawn Penn,
The Cure,
Ronan,
Brass Construction,
The Buckinghams,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.