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 Papua New Guinea and from Johannesburg.
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 1975.
I'm losing my edge.
To all the kids in Copenhagen and Tokyo.
I'm losing my edge to the art-school Cairo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare 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 New Order to the crunk 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 The Red Krayola. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal techno 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 guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sam Rivers,
Marvin Gaye,
The Durutti Column,
Rosa Yemen,
Neu!,
The Mummies,
The Flesh Eaters,
Flamin' Groovies,
Kaleidoscope,
Model 500,
Chris & Cosey,
Bill Near,
Masters at Work,
Loose Ends,
The Trojans,
Make Up,
The Offenders,
Strawberry Alarm Clock,
The Sound,
Section 25,
Jeff Mills,
The Beau Brummels,
Desert Stars,
Buzzcocks,
Henry Cow,
Heaven 17,
Roger Hodgson,
Chris Corsano,
Panda Bear,
Nation of Ulysses,
Sandy B,
Simply Red,
The Gories,
ABC,
Teenage Jesus and the Jerks,
Arab on Radar,
Janne Schatter,
Half Japanese,
Camron Feat. Memphis Bleek And Beenie Seigel,
KRS-One,
The Red Krayola,
Ronnie Foster,
Warsaw,
Minutemen,
Major Organ And The Adding Machine,
Mars,
Reagan Youth,
Outsiders,
Zero Boys,
Siglo XX,
Faraquet,
Neil Young & Crazy Horse,
Symarip,
Second Layer,
Rekid,
Captain Beefheart & His Magic Band,
David McCallum,
John Holt,
Intrusion, Intrusion, Intrusion, Intrusion.
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.