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 Laos and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Salvador and Philadelphia.
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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 The Moody Blues to the grime 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 Andrew Ashong & Theo Parrish. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Silicon Teens record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Y Pants,
Marmalade,
Little Man,
Isaac Hayes,
Röyhkä ja Rättö ja Lehtisalo,
Connie Case,
Nils Olav,
The Sisters of Mercy,
Ronnie Foster,
The Dave Clark Five,
DJ Style,
Bobby Sherman,
The Cowsills,
John Foxx,
Graham Central Station,
Jacques Brel,
Smog,
Sound Behaviour,
Toni Rubio,
Deakin,
PIL,
Jesper Dahlback,
Rahsaan Roland Kirk,
Newcleus,
Roy Ayers Ubiquity,
The Litter,
Cheater Slicks,
Camberwell Now,
Sexual Harrassment,
Echo & the Bunnymen,
Das Ding,
Vaughan Mason & Crew,
Livin' Joy,
Oblivians,
Infiniti,
June Days,
Minnie Riperton,
Dorothy Ashby,
X-102,
kango's stein massive,
Niagra,
Simply Red,
The Offenders,
Faust,
Gang Starr,
The Star Department,
Althea and Donna,
Eddi Front,
The Knickerbockers,
Sight & Sound,
the Fania All-Stars,
Amon Düül,
Motorama,
Roger Hodgson,
Don Cherry,
Junior Murvin,
Visage,
Flash Fearless,
The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds.
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.