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 Philippines and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1972.
I'm losing my edge.
To all the kids in Manchester and Mexico City.
I'm losing my edge to the art-school Halifax 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 chamberlin 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 Matthew Halsall to the dance kids.
I played it at the Spitz.
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 Brick. All the underground hits.
All The Beau Brummels tracks. I heard you have a vinyl of every Stereo Dub record on German import.
I heard that you have a white label of every seminal grunge 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 a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
Delta 5,
John Foxx,
The Pop Group,
De La Soul & Jungle Brothers,
The Stooges,
Intrusion,
John Lydon,
The Young Rascals,
Depeche Mode,
Alphaville,
Audionom,
This Heat,
Heaven 17,
Derrick Morgan,
Byron Stingily,
R.M.O.,
Dark Day,
Tears for Fears,
Quantec,
Kango’s Stein Massive,
Dead Boys,
Soul II Soul,
The Raincoats,
James Chance & The Contortions,
K-Klass,
Bootsy Collins,
Flipper,
Vaughan Mason & Crew,
Boogie Down Productions,
The Moody Blues,
Faraquet,
Major Organ And The Adding Machine,
Cheater Slicks,
Roxy Music,
Bang On A Can,
Kool Moe Dee,
the Normal,
Groovy Waters,
Skarface,
Cluster,
The Real Kids,
Qualms,
Mad Mike,
The J.B.'s,
The Angels of Light,
Mark Hollis,
Deadbeat,
Ornette Coleman,
The Names,
Rowland S Howard / Lydia Lunch,
Manfred Mann's Earth Band,
OOIOO,
Royal Trux,
Peter & Gordon,
KRS-One,
The Martian,
Big Daddy Kane,
Junior Murvin,
Avey Tare's Slasher Flicks,
Buzzcocks,
Smog, Smog, Smog, Smog.
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.