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 Laos and from Mumbai.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Taipei.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the sitar 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 Pierre Henry to the funk kids.
I played it at the Roxy.
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 Ossler. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Grandmaster Flash and the Furious Five,
Section 25,
Isaac Hayes,
Dead Boys,
Half Japanese,
Cheater Slicks,
The Sound,
Nirvana,
DJ Style,
The Moleskins,
Pet Shop Boys,
Harmonia,
Johnny Osbourne,
Lalann,
Gastr Del Sol,
Bronski Beat,
Bobbi Humphrey,
Heaven 17,
Silicon Teens,
Bauhaus,
Bang on a Can All-Stars,
Pulsallama,
Make Up,
Rod Modell,
Sonny Sharrock,
Jesper Dahlbäck,
Public Image Ltd.,
Leonard Cohen,
Main Source,
John Cale,
Radiohead,
Graham Central Station,
The Gories,
A Flock of Seagulls,
Letta Mbulu,
Dave Gahan,
Kerri Chandler,
Aloha Tigers,
Boogie Down Productions,
Bang On A Can,
Nico,
Max Romeo,
The Stooges,
The Victims,
Deepchord,
T.S.O.L.,
Orchestral Manoeuvres in the Dark,
Röyhkä ja Rättö ja Lehtisalo,
The Monochrome Set,
Barrington Levy,
Wighnomy Brothers & Robag Wruhme,
The Motions,
Urselle,
Fatback Band,
Carl Craig,
Stiv Bators,
Avey Tare,
LL Cool J,
Marcia Griffiths,
Moby Grape,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.