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 Djibouti and from Manchester.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
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 snare 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 Boogie Down Productions to the rap kids.
I played it at Cafe Wha.
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 Walker Brothers. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every Fatback Band record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
The Names,
Glambeats Corp.,
Oneida,
Accadde A,
Traffic Nightmare,
The Remains,
Loose Ends,
Zero Boys,
The Sisters of Mercy,
The Electric Prunes,
Tomorrow,
Lou Christie,
Wasted Youth,
Porter Ricks,
FM Einheit,
Mary Jane Girls,
Mad Mike,
Robert Wyatt,
China Crisis,
Sun Ra Arkestra,
The Alarm Clocks,
The Walker Brothers,
Stockholm Monsters,
Art Ensemble Of Chicago,
Jeff Lynne,
Scott Walker,
Bobby Byrd,
Soft Cell,
Pole,
The Golliwogs,
Strawberry Alarm Clock,
Sex Pistols,
The Techniques,
Main Source,
Bootsy's Rubber Band,
Radiohead,
Neil Young & Crazy Horse,
Ice-T,
Barry Ungar,
Goldenarms,
The Monochrome Set,
Cluster,
Matthew Halsall,
U.S. Maple,
The Fuzztones,
Sarah Menescal,
E-Dancer,
Kerri Chandler,
Babytalk,
The West Coast Pop Art Experimental Band,
Half Japanese,
Lightning Bolt,
Albert Ayler,
Newcleus,
A Flock of Seagulls,
Electric Light Orchestra,
MDC,
Joe Smooth,
Infiniti, Infiniti, Infiniti, Infiniti.
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.