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 Mauritania and from Stockholm.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1971.
I'm losing my edge.
To all the kids in Woodstock and Shanghai.
I'm losing my edge to the art-school Jakarta 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 at the first Suicide practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when David Bowie 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 Con Funk Shun to the rock kids.
I played it at the Hacienda.
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 the Association. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Barrington Levy 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rahsaan Roland Kirk record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Brass Construction,
Johnny Clarke,
Fear,
Sugar Minott,
Todd Rundgren,
Nik Kershaw,
Kenny Larkin,
Outsiders,
The Tremeloes,
Japan,
Eden Ahbez,
The Vogues,
Severed Heads,
The Fortunes,
The Monochrome Set,
Lou Christie,
Quando Quango,
The Mojo Men,
Rites of Spring,
The Beau Brummels,
Erasure,
Quadrant,
Absolute Body Control,
Lakeside,
The Techniques,
Mantronix,
Tom Boy,
the Soft Cell,
Junior Murvin,
Rufus Thomas,
Sad Lovers and Giants,
Sarah Menescal,
Sonny Sharrock,
New Age Steppers,
Jacques Brel,
Matthew Bourne,
Scion,
Joyce Sims,
Alice Coltrane,
Warren Ellis,
the Sonics,
Marc Almond,
Ludus,
Laurel Aitken,
DJ Sneak,
Pierre Henry,
The Associates,
The Names,
Lyres,
The Victims,
Delon & Dalcan,
Metal Thangz,
X-101,
Adolescents,
The Slits,
Amazonics,
Brothers Johnson,
PIL,
Jawbox,
Hardrive,
Pete Rock & C.L. Smooth,
Niagra, Niagra, Niagra, Niagra.
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.