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 Slovakia and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1979.
I'm losing my edge.
To all the kids in Manchester and Lyon.
I'm losing my edge to the art-school Mexico City 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 Holger Czukay 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 Hardrive to the crunk 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 Robert Hood. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Nils Olav record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Crooked Eye record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
F. McDonald,
Stockholm Monsters,
OOIOO,
Pete Rock & C.L. Smooth,
Minor Threat,
Sun Ra,
Ronan,
The New Christs,
Lyres,
Sly & The Family Stone,
Lou Reed & Metallica,
Masters at Work,
Jerry's Kids,
Curtis Mayfield,
Gichy Dan,
The Jesus and Mary Chain,
Sight & Sound,
The Dave Clark Five,
Fugazi,
Excepter,
Roxy Music,
The Move,
Lightning Bolt,
Quadrant,
A Flock of Seagulls,
Marshall Jefferson,
Ludus,
Joensuu 1685,
One Last Wish,
Lee Hazlewood,
Ronnie Foster,
Rhythm & Sound,
Gil Scott-Heron and Jamie xx,
Kurtis Blow,
Funkadelic,
Derrick May,
Basic Channel,
Animal Collective,
Rakim,
The Music Machine,
T. Rex,
Monks,
Albert Ayler,
The Golliwogs,
Suicide,
It's A Beautiful Day,
ABBA,
The Grass Roots,
Ken Boothe,
Bronski Beat,
The Stooges,
Yazoo,
Mo-Dettes,
Symarip,
Colin Newman,
The Skatalites,
Sad Lovers and Giants,
Charles Mingus,
Ponytail,
Intrusion,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.