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 Kuwait and from Bremen.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Columbus and Shanghai.
I'm losing my edge to the art-school Copenhagen 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Thee Headcoats to the rap 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 Bronski Beat. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Terry Callier 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Scientists record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Manfred Mann's Earth Band,
Eric Dolphy,
Joensuu 1685,
Simply Red,
Metal Thangz,
The West Coast Pop Art Experimental Band,
Jandek,
Mantronix,
The Gap Band,
The Invisible,
Oblivians,
Mad Mike,
John Lydon,
Sound Behaviour,
Black Sheep,
Japan,
Deutsch Amerikanische Freundschaft,
Joe Smooth,
The Monochrome Set,
Roxette,
Visionaries,LMNO, T- Love & Iriscience,
Rites of Spring,
Banda Bassotti,
Inner City,
Janne Schatter,
Cecil Taylor,
Silicon Teens,
Make Up,
Jawbox,
Skaos,
Khruangbin,
Scratch Acid,
Art Ensemble Of Chicago,
Crispian St. Peters,
Bill Wells,
a-ha,
Avey Tare,
The Star Department,
Nation of Ulysses,
Gil Scott-Heron and Jamie xx,
Pole,
John Holt,
The Associates,
Urselle,
The Martian,
Colin Newman,
Gang Green,
Wally Richardson,
Tomorrow,
The Knickerbockers,
Rapeman,
Section 25,
Sugar Minott,
Sandy B,
Essential Logic,
Masters at Work,
Man Parrish,
Captain Beefheart & His Magic Band,
Boogie Down Productions,
Boz Scaggs,
ABC,
Visage,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.