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 Tanzania and from Lagos.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Delhi and Sao Paulo.
I'm losing my edge to the art-school Taipei 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb 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 Crispian St. Peters 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 Neu!. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Harmonia record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a JFA record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Hoover,
Wolf Eyes,
Echospace,
The Cowsills,
Kango’s Stein Massive,
Derrick Morgan,
Boredoms,
Cybotron,
ABBA,
Young Marble Giants,
OOIOO,
K-Klass,
Babytalk,
Zero Boys,
Altered Images,
Bad Manners,
Youth Brigade,
Swell Maps,
The Flesh Eaters,
Suicide,
John Holt,
Reagan Youth,
The United States of America,
Richard Hell and the Voidoids,
Terrestrial Tones,
Dark Day,
Camouflage,
Easy Going,
Scan 7,
Deakin,
Mo-Dettes,
Alton Ellis,
Jimmy McGriff,
Avey Tare & Kría Brekkan,
The Modern Lovers,
the Soft Cell,
U.S. Maple,
The Young Rascals,
Zapp,
Mad Mike,
Larry & the Blue Notes,
Adolescents,
Quadrant,
The Last Poets,
Matthew Halsall,
Danielle Patucci,
Peter & Gordon,
London Community Gospel Choir,
Section 25,
Oneida,
Soft Machine,
Cal Tjader,
Derrick May,
Letta Mbulu,
Suburban Knight,
Ajijia Myrayebe,
Agent Orange,
Underground Resistance,
Country Joe & The Fish,
Amazonics,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.