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 Nepal and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Lyon and Johannesburg.
I'm losing my edge to the art-school Accra 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 harpsichord 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 The Gap Band to the funk kids.
I played it at the Hacienda.
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 Skarface. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Cluster record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum 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 West Coast Pop Art Experimental Band,
The Grass Roots,
Judy Mowatt,
Faust,
Young Marble Giants,
Bill Near,
Joey Negro,
John Holt,
The Monks,
The Remains,
Deakin,
The Blackbyrds,
The Evens,
Rosa Yemen,
Lou Christie,
Marc Romboy vs. Booka Shade,
Boogie Down Productions,
F. McDonald,
The Human League,
The Cosmic Jokers,
Adolescents,
Eric Copeland,
Davy DMX,
Maleditus Sound,
Nick Fraelich,
Graham Central Station,
Joyce Sims,
Gang of Four,
Colin Newman,
Index,
Black Bananas,
Jawbox,
Deadbeat,
kango's stein massive,
The Moody Blues,
John Foxx,
The Dirtbombs,
Mission of Burma,
Flamin' Groovies,
Pete Rock & C.L. Smooth,
Pierre Henry,
Country Teasers,
Thompson Twins,
Godley & Creme,
Peter and Kerry,
Marshall Jefferson,
London Community Gospel Choir,
Fad Gadget,
Cecil Taylor,
Swell Maps,
Soft Machine,
Masters at Work,
Lou Reed & Metallica,
Mandrill,
The Seeds,
Vladislav Delay,
Jerry's Kids,
Bobby Womack,
Brick,
Chris Corsano,
Lalo Schifrin,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.