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 United States and from Houston.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Manchester 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 Holger Czukay 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 Joyce Sims to the punk kids.
I played it at the Roxy.
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 Loose Ends. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Sound Behaviour 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 '80s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Human League record.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Camberwell Now,
Peter Gordon & Love of Life Orchestra,
the Slits,
Moby Grape,
London Community Gospel Choir,
Tim Buckley,
Gregory Isaacs,
Cheater Slicks,
Boredoms,
The Vogues,
Derrick Morgan,
DeepChord presents Echospace,
Grauzone,
Brass Construction,
Rites of Spring,
Joy Division,
Pharoah Sanders,
Al Stewart,
Ludus,
Yaz,
Half Japanese,
Bobbi Humphrey,
Grey Daturas,
The Slackers,
The Evens,
Newcleus,
Roy Ayers,
Pharaoh Sanders and the Fire Engines,
Funkadelic,
New Age Steppers,
Organ,
Barbara Tucker,
Röyhkä ja Rättö ja Lehtisalo,
Lonnie Liston Smith,
The Red Krayola,
LL Cool J,
Gong,
Jesper Dahlbäck,
Wally Richardson,
Ronnie Foster,
Mark Hollis,
Piero Umiliani,
The Moody Blues,
Albert Ayler,
Bobby Hutcherson,
Mo-Dettes,
The Shadows of Knight,
Lizzy Mercier Descloux,
Althea and Donna,
Adolescents,
L. Decosne,
Amon Düül,
Ossler,
The Tremeloes,
Ultimate Spinach,
The Martian,
Fort Wilson Riot,
Black Flag,
the Association,
The Motions,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.