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 Samoa and from Paris.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1979.
I'm losing my edge.
To all the kids in Johannesburg and Taipei.
I'm losing my edge to the art-school Copenhagen 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 snare sounds with much patience.
I was there when Captain Beefheart 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 Althea and Donna to the electroclash kids.
I played it at the Astoria.
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 Hashim. All the underground hits.
All Moebius tracks. I heard you have a vinyl of every Boz Scaggs record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Seeds,
Magma,
Sound Behaviour,
The Sound,
Swell Maps,
Notorious Big And Bone Thugs,
Qualms,
Bad Manners,
Vainqueur,
Alphaville,
Lakeside,
Skaos,
Q65,
Peter Gordon & Love of Life Orchestra,
Laurel Aitken,
Bronski Beat,
Davy DMX,
Rod Modell,
The Chocolate Watch Band,
Freddie Wadling,
The Fall,
Lou Reed & John Cale,
Excepter,
The Leaves,
Johnny Osbourne,
Sonny Sharrock,
Jesper Dahlback,
Tears for Fears,
Marc Almond,
The Music Machine,
The Men They Couldn't Hang,
Lou Christie,
Ralphi Rosario,
Glambeats Corp.,
The New Christs,
Kauko Röyhkä ja Narttu,
June Days,
Flipper,
The Mojo Men,
Lafayette Afro Rock Band,
the Germs,
The Dirtbombs,
Nirvana,
Vladislav Delay,
Kayak,
The Tremeloes,
Con Funk Shun,
Ken Boothe,
A Certain Ratio,
The Busters,
Deakin,
Matthew Halsall,
The Detroit Cobras,
Avey Tare,
Pharaoh Sanders and the Fire Engines,
Severed Heads,
Pagans,
Gastr Del Sol,
Susan Cadogan,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.