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 Philippines and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Manchester and Salvador.
I'm losing my edge to the art-school Philadelphia 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 808 sounds with much patience.
I was there when Michael McDonald 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 Flamin' Groovies to the techno 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 Saccharine Trust. All the underground hits.
All Fela Kuti tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kauko Röyhkä ja Narttu,
The Fall,
Franke,
Peter & Gordon,
The Leaves,
Los Fastidios,
The Sound,
Clear Light,
Negative Approach,
Grandmaster Flash,
Cheater Slicks,
Nik Kershaw,
Pantytec,
Q and Not U,
Marshall Jefferson,
Bobbi Humphrey,
The Black Dice,
Crime,
Pet Shop Boys,
Magazine,
The Pop Group,
Sun City Girls,
Black Pus,
Marc Almond,
A Certain Ratio,
Robert Hood,
a-ha,
Scott Walker,
Public Image Ltd.,
Pierre Henry,
Visionaries,LMNO, T- Love & Iriscience,
the Fania All-Stars,
Sight & Sound,
Johnny Clarke,
Banda Bassotti,
T.S.O.L.,
Harmonia,
Vaughan Mason & Crew,
Minny Pops,
Jesper Dahlbäck,
Dawn Penn,
Marcia Griffiths,
Roger Hodgson,
Spoonie Gee,
Technova,
Andrew Hill,
Motorama,
EPMD,
The Fortunes,
The Motions,
Siouxsie and the Banshees,
Boogie Down Productions,
Bobby Hutcherson,
The Remains,
Blancmange,
The Smoke,
Ronnie Foster,
Grandmaster Flash and the Furious Five,
Boz Scaggs,
Spandau Ballet,
Dave Gahan,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.