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 Iran and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1972.
I'm losing my edge.
To all the kids in Stockholm and Delhi.
I'm losing my edge to the art-school Lille 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the harpsichord 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 Robert Görl to the grunge kids.
I played it at the Crocodile.
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 Eurythmics. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Groovy Waters record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Kurtis Blow,
Avey Tare's Slasher Flicks,
Sad Lovers and Giants,
DNA,
Nas,
Kerrie Biddell,
Juan Atkins,
Eli Mardock,
Rowland S Howard / Lydia Lunch,
Main Source,
Oppenheimer Analysis,
Eve St. Jones,
Can,
MC5,
Ludus,
Rekid,
Sixth Finger,
Maleditus Sound,
Beasts of Bourbon,
Basic Channel,
Icehouse,
Soft Machine,
Dawn Penn,
The Motions,
Crispy Ambulance,
Parry Music,
Robert Wyatt,
Symarip,
The Neon Judgement,
One Last Wish,
the Soft Cell,
the Bar-Kays,
Susan Cadogan,
Terror Squad Feat. Camron,
The Fall,
Kenny Larkin,
A Flock of Seagulls,
Peter & Gordon,
Gichy Dan,
The Slackers,
Lalo Schifrin,
Warren Ellis,
Nik Kershaw,
Derrick May,
Outsiders,
The Black Dice,
The Mojo Men,
Roy Ayers,
Mark Hollis,
Marshall Jefferson,
Radiohead,
Gil Scott-Heron and Jamie xx,
Bronski Beat,
Art Ensemble Of Chicago,
Ken Boothe,
Cal Tjader,
Joey Negro,
U.S. Maple,
The Martian,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.