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 Eritrea and from Stockholm.
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 1973.
I'm losing my edge.
To all the kids in Lyon and Salvador.
I'm losing my edge to the art-school London 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 Cluster to the grime kids.
I played it at the Troubador.
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 Faust. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every the Bar-Kays record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
The Gap Band,
DJ Sneak,
Dr. Dre and Snoop Doggy Dog,
Bad Manners,
the Germs,
Talk Talk,
Todd Rundgren,
Nils Olav,
Harpers Bizarre,
Interpol,
Derrick May,
AZ,
Darondo,
The Gladiators,
Charles Mingus,
Sixth Finger,
Eric B and Rakim,
Rahsaan Roland Kirk,
Sound Behaviour,
Strawberry Alarm Clock,
Derrick Morgan,
Oneida,
Scott Walker + Sunn O))),
Theoretical Girls,
Gerry Rafferty,
Grandmaster Flash and the Furious Five,
Judy Mowatt,
Flamin' Groovies,
Robert Görl,
Siouxsie and the Banshees,
Max Romeo,
Babytalk,
Metal Thangz,
The Tremeloes,
David Bowie,
The Gun Club,
The Mummies,
Simply Red,
Minny Pops,
Clear Light,
Tim Buckley,
Gong,
The Cowsills,
Jeff Mills,
Kaleidoscope,
The Pretty Things,
Harry Pussy,
Boogie Down Productions,
the Association,
Japan,
Gang Green,
John Holt,
Jesper Dahlback,
Pylon,
Sandy B,
Bush Tetras,
Graham Central Station,
Niagra,
Wings,
Electric Light Orchestra,
Audionom, Audionom, Audionom, Audionom.
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.