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 Lesotho 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 1960 to 1970.
I'm losing my edge.
To all the kids in Halifax and Stockholm.
I'm losing my edge to the art-school Portland 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Massinfluence to the crunk 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 kango's stein massive. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Thee Headcoats 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
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,
Marmalade,
Rhythim Is Rhythim,
The Wake,
Rotary Connection,
Heavy D & The Boyz,
Spandau Ballet,
Nation of Ulysses,
Man Eating Sloth,
Sarah Menescal,
Black Sheep,
Tubeway Army,
The Angels of Light,
Red Lorry Yellow Lorry,
Barclay James Harvest,
Bang On A Can,
Infiniti,
Supertramp,
10cc,
The Fire Engines,
Bobby Sherman,
Lebanon Hanover,
Bang on a Can All-Stars,
Hasil Adkins,
John Coltrane,
the Swans,
Isaac Hayes,
the Sonics,
Alice Coltrane,
The Real Kids,
Hot Snakes,
Sound Behaviour,
Kaleidoscope,
Zero Boys,
CMW,
Rahsaan Roland Kirk,
Rakim,
Loose Ends,
FM Einheit,
Grandmaster Flash and the Furious Five,
a-ha,
Lalann,
David McCallum,
Goldenarms,
Whodini,
Ornette Coleman,
Chris & Cosey,
the Soft Cell,
The Skatalites,
Rapeman,
Johnny Osbourne,
Kool G Rap & DJ Polo,
Das Ding,
Section 25,
La Düsseldorf,
Negative Approach,
Steve Hackett,
Slave,
Kas Product,
Sister Nancy,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.