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 Netherlands and from London.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Halifax and Philadelphia.
I'm losing my edge to the art-school Madrid 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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Donald Fagen 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 Amazonics to the electroclash kids.
I played it at the Astoria.
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 Minor Threat. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every The Sonics record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
Pulsallama,
Avey Tare's Slasher Flicks,
Bronski Beat,
Howard Jones,
The Flesh Eaters,
Alton Ellis,
Eurythmics,
Urselle,
Brick,
The Techniques,
The Dirtbombs,
Kayak,
Fort Wilson Riot,
Marshall Jefferson,
Leonard Cohen,
Massinfluence,
The Black Dice,
Lakeside,
Joe Smooth,
Buzzcocks,
Chris Corsano,
The Pop Group,
Cecil Taylor,
The Toasters,
Visionaries,LMNO, T- Love & Iriscience,
Wings,
H. Thieme,
Accadde A,
The Tremeloes,
The Barracudas,
Cheater Slicks,
Electric Light Orchestra,
The Walker Brothers,
The Dave Clark Five,
Matthew Bourne,
Nation of Ulysses,
Jerry Gold Smith,
Kauko Röyhkä ja Narttu,
Model 500,
Joyce Sims,
Notorious BIG live in Amsterdam,
Gerry Rafferty,
Frankie Knuckles,
The Neon Judgement,
Deakin,
Crash Course in Science,
Black Sheep,
PIL,
Kango’s Stein Massive,
The Star Department,
The Vogues,
The Blackbyrds,
Aural Exciters,
Scientists,
Tres Demented,
CMW,
The Moody Blues,
Barrington Levy,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.