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 Uruguay and from Lille.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Lille and Manila.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 Fear to the rock kids.
I played it at the Spitz.
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 Delta 5. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Barclay James Harvest 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 '80s cut and another box set from the '90s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Wally Richardson,
Pere Ubu,
Notorious Big And Bone Thugs,
Oppenheimer Analysis,
Ash Ra Tempel,
Sam Rivers,
Los Fastidios,
Sandy B,
Royal Trux,
MC5,
Dr. Dre and Snoop Doggy Dog,
Camron Feat. Jay Z And Juelz,
The Fugs,
Dawn Penn,
Lindisfarne,
Lonnie Liston Smith,
Prince Buster,
Susan Cadogan,
Ludus,
The Smoke,
Lafayette Afro Rock Band,
Donny Hathaway,
Manfred Mann's Earth Band,
Japan,
Rakim,
Cabaret Voltaire,
Chrome,
Richard Hell and the Voidoids,
Minutemen,
The Residents,
Sex Pistols,
Pierre Henry,
The Durutti Column,
Con Funk Shun,
Nation of Ulysses,
New Order,
U.S. Maple,
Reagan Youth,
The Sound,
John Coltrane,
Basic Channel,
Sight & Sound,
Echo & the Bunnymen,
Tomorrow,
Second Layer,
the Swans,
The Moody Blues,
Matthew Bourne,
DNA,
Masters at Work,
Andrew Ashong & Theo Parrish,
Massinfluence,
Harpers Bizarre,
Aural Exciters,
Altered Images,
T. Rex,
The Cramps,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.