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 San Marino and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Paris and Sao Paulo.
I'm losing my edge to the art-school Manchester 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 linndrum 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 E-Dancer to the jazz 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 Quando Quango. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a the Sonics record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Bobby Womack,
Electric Prunes,
Gil Scott Heron,
Jandek,
Prince Buster,
Intrusion,
Yaz,
Marc Romboy vs. Booka Shade,
Section 25,
The Five Americans,
Whodini,
Tears for Fears,
Marcia Griffiths,
Minor Threat,
Skarface,
John Holt,
The Monochrome Set,
Ludus,
Rhythim Is Rhythim,
Oppenheimer Analysis,
Bill Near,
Joe Smooth,
The Techniques,
KRS-One,
Thompson Twins,
Marvin Gaye,
Notorious BIG live in Amsterdam,
The Happenings,
Circle Jerks,
Ultramagnetic MC's,
Ice-T,
Pagans,
Chris & Cosey,
Public Image Ltd.,
The Skatalites,
Chris Corsano,
Art Ensemble Of Chicago,
Traffic Nightmare,
Grauzone,
Strawberry Alarm Clock,
Siglo XX,
Blancmange,
Electric Light Orchestra,
Skaos,
Black Moon,
Amon Düül,
Man Parrish,
Audionom,
Bang On A Can,
Sonic Youth,
The Human League,
The Litter,
Letta Mbulu,
The Blackbyrds,
Erasure,
Sexual Harrassment,
June of 44,
10cc,
Larry & the Blue Notes,
Scientists,
Sly & The Family Stone,
Alphaville, Alphaville, Alphaville, Alphaville.
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.