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 Georgia and from Stockholm.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Sao Paulo.
I'm losing my edge to the art-school Edmonton 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 808 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 Maleditus Sound to the dance kids.
I played it at the Troubador.
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 Agent Orange. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Mandrill 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 '50s cut and another box set from the '80s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grauzone,
Crash Course in Science,
Sun Ra,
Electric Prunes,
Main Source,
Albert Ayler,
Kayak,
The Fuzztones,
Echospace,
The Count Five,
Andrew Hill,
Zapp,
Soul II Soul,
The Fire Engines,
Sixth Finger,
Spandau Ballet,
Visionaries,LMNO, T- Love & Iriscience,
Outsiders,
Lightning Bolt,
Interpol,
The Doobie Brothers,
the Normal,
Jeff Mills,
Bill Near,
Drexciya,
Piero Umiliani,
DJ Style,
The Birthday Party,
Radio Birdman,
Eden Ahbez,
Michelle Simonal,
New York Dolls,
The Gun Club,
Marcia Griffiths,
Mary Jane Girls,
The Kinks,
The Move,
Orchestral Manoeuvres in the Dark,
Selector Dub Narcotic,
Television,
Blake Baxter,
Sonny Sharrock,
Sly & The Family Stone,
Parry Music,
The Smiths,
Qualms,
Funkadelic,
Peter and Kerry,
One Last Wish,
Goldenarms,
Toni Rubio,
Hasil Adkins,
The Mummies,
Bootsy Collins,
Mark Hollis,
Dawn Penn,
Dead Boys,
Pierre Henry,
John Coltrane,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.