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 Bahamas and from Jakarta.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Halifax and Edmonton.
I'm losing my edge to the art-school Taipei 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the marimba 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 Todd Rundgren to the rap 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 Electric Prunes. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a OOIOO record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
X-101,
The Grass Roots,
Hasil Adkins,
The Red Krayola,
Thinking Fellers Union Local 282,
Johnny Clarke,
Oneida,
Jesper Dahlbäck,
Marmalade,
Rahsaan Roland Kirk,
Röyhkä ja Rättö ja Lehtisalo,
Kerrie Biddell,
E-Dancer,
Kauko Röyhkä ja Narttu,
Severed Heads,
Underground Resistance,
Pere Ubu,
Au Pairs,
Dark Day,
Roxette,
Electric Light Orchestra,
The Dirtbombs,
Ash Ra Tempel,
Pharaoh Sanders and the Fire Engines,
The Smoke,
Mars,
Moss Icon,
The Electric Prunes,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
the Swans,
Sister Nancy,
Television,
Glambeats Corp.,
Rod Modell,
the Soft Cell,
Gang Green,
Cecil Taylor,
Pole,
The Modern Lovers,
Faust,
Newcleus,
Marshall Jefferson,
Stockholm Monsters,
Ten City,
James Chance & The Contortions,
Kas Product,
Bobby Sherman,
Ultravox,
Jeff Lynne,
Banda Bassotti,
David McCallum,
Maurizio,
David Axelrod,
Khruangbin,
The Wake,
Rosa Yemen,
Sly & The Family Stone,
Bootsy's Rubber Band,
The Gap Band,
Crooked Eye,
Prince Buster,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.