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 South Sudan and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Madrid and London.
I'm losing my edge to the art-school Accra 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 clarinet sounds with much patience.
I was there when Captain Beefheart 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 Michelle Simonal to the rock 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 Count Five. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Fat Boys record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
The Dave Clark Five,
U.S. Maple,
Oblivians,
The Real Kids,
Bill Near,
Danielle Patucci,
The Sonics,
The Busters,
Selector Dub Narcotic,
Public Image Ltd.,
Jeff Lynne,
Ultramagnetic MC's,
Stereo Dub,
The Detroit Cobras,
The Jesus and Mary Chain,
The Last Poets,
Yaz,
Scratch Acid,
Neil Young & Crazy Horse,
X-101,
Lebanon Hanover,
Duran Duran,
John Holt,
Al Stewart,
Monks,
Art Ensemble Of Chicago,
Teenage Jesus and the Jerks,
Harmonia,
Outsiders,
Ken Boothe,
Sex Pistols,
Public Enemy,
Rod Modell,
Marc Romboy vs. Booka Shade,
Siglo XX,
Pharoah Sanders,
Lower 48,
Beasts of Bourbon,
Tommy Roe,
The United States of America,
Surgeon,
DJ Sneak,
The Victims,
T. Rex,
The Grass Roots,
The Toasters,
Crispy Ambulance,
Fad Gadget,
Matthew Halsall,
Curtis Mayfield,
Marshall Jefferson,
Kool Moe Dee,
Röyhkä ja Rättö ja Lehtisalo,
Mars,
Silicon Teens,
Cal Tjader,
Glenn Branca,
DeepChord presents Echospace,
Brass Construction,
Freddie Wadling,
Scientists,
Aswad, Aswad, Aswad, Aswad.
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.