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 Tuvalu and from Stockholm.
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 Spokane and Lagos.
I'm losing my edge to the art-school Hong Kong 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 1978 at the first Visage practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Nile Rodgers 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 New Age Steppers to the rock kids.
I played it at Trash.
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 Camron Feat. Memphis Bleek And Beenie Seigel. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
H. Thieme,
Fatback Band,
Agitation Free,
Masters at Work,
Pantytec,
Black Pus,
John Lydon,
Tears for Fears,
Captain Beefheart & His Magic Band,
Robert Görl,
Dark Day,
Mad Mike,
Pete Rock & C.L. Smooth,
Fear,
Crispian St. Peters,
Yusef Lateef,
Fifty Foot Hose,
Scion,
Bobby Womack,
Bobby Hutcherson,
Scratch Acid,
Sly & The Family Stone,
the Fania All-Stars,
Tomorrow,
The Busters,
DJ Sneak,
Lakeside,
Isaac Hayes,
Al Stewart,
Talk Talk,
The Doors,
The Move,
Guru Guru,
Marmalade,
Toni Rubio,
The Seeds,
ABC,
Johnny Osbourne,
The Remains,
Todd Rundgren,
Popol Vuh,
Nik Kershaw,
Joensuu 1685,
Brothers Johnson,
James Chance & The Contortions,
Quadrant,
Drexciya,
Heavy D & The Boyz,
the Slits,
Teenage Jesus and the Jerks,
Bluetip,
Oblivians,
Rhythim Is Rhythim,
Symarip,
Prince Buster,
Urselle,
Clear Light,
Second Layer,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.