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 Portugal and from Lille.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Tehran and Tehran.
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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Anakelly to the rap 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 Kurtis Blow. All the underground hits.
All K-Klass tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal electroclash 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
Barbara Tucker,
T. Rex,
Tomorrow,
Kings Of Tomorrow,
Heaven 17,
The Gap Band,
Lalann,
Agent Orange,
Camberwell Now,
Man Parrish,
Quadrant,
Lou Reed,
Notorious BIG live in Amsterdam,
Robert Wyatt,
the Germs,
Kurtis Blow,
Reagan Youth,
Ponytail,
Richard Hell and the Voidoids,
Notorious Big And Bone Thugs,
Unwound,
Jesper Dahlbäck,
Public Image Ltd.,
Brothers Johnson,
Pierre Henry,
Pulsallama,
Amon Düül,
Stereo Dub,
Guru Guru,
Electric Light Orchestra,
Rapeman,
Avey Tare,
The Gories,
The Gladiators,
Outsiders,
Eyeless In Gaza,
Flipper,
The Barracudas,
Cluster,
Gang Starr,
Pylon,
Arthur Verocai,
Shuggie Otis,
Swell Maps,
The Beau Brummels,
The Names,
Lindisfarne,
Roy Ayers Ubiquity,
Bobbi Humphrey,
Scratch Acid,
Minutemen,
The Mighty Diamonds,
Carl Craig,
kango's stein massive,
The Invisible,
ABBA,
The Durutti Column,
the Association,
Au Pairs,
the Soft Cell,
Grauzone,
Wings,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.