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 Taiwan and from Calgary.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1970.
I'm losing my edge.
To all the kids in Houston and Edmonton.
I'm losing my edge to the art-school Sao Paulo 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 Niagra to the electroclash kids.
I played it at Cafe Wha.
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 Marcia Griffiths. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Rapeman record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
The Last Poets,
London Community Gospel Choir,
Television,
Gary Puckett & The Union Gap,
Marc Romboy vs. Booka Shade,
Donald Byrd,
Red Lorry Yellow Lorry,
The J.B.'s,
Gastr Del Sol,
Lebanon Hanover,
Camberwell Now,
Scott Walker + Sunn O))),
Yazoo,
Flamin' Groovies,
Wolf Eyes,
Larry & the Blue Notes,
Avey Tare's Slasher Flicks,
Oppenheimer Analysis,
The Divine Comedy,
Jandek,
Bauhaus,
The Litter,
Man Parrish,
Joe Smooth,
Niagra,
Lindisfarne,
Fad Gadget,
Franke,
Stockholm Monsters,
The Remains,
The Red Krayola,
Matthew Bourne,
Max Romeo,
Arthur Verocai,
Faust,
Hardrive,
Magazine,
Subhumans,
Kas Product,
Section 25,
Hoover,
Funky Four + One,
Malaria!,
Japan,
Mission of Burma,
Stereo Dub,
Aloha Tigers,
Nirvana,
Arab on Radar,
Zero Boys,
Ralphi Rosario,
Bush Tetras,
Sad Lovers and Giants,
KRS-One,
The Angels of Light,
Kerrie Biddell,
Dr. Dre and Snoop Doggy Dog,
Loose Ends,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.