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 Edmonton.
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 1979.
I'm losing my edge.
To all the kids in Milan and Woodstock.
I'm losing my edge to the art-school Jakarta 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 snare 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 Tom Boy to the techno 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 Chris Corsano. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every Massinfluence record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
The Remains,
The Velvet Underground,
Man Parrish,
Crime,
Accadde A,
Fad Gadget,
Gang Gang Dance,
cv313,
Pulsallama,
F. McDonald,
Bobby Womack,
X-101,
The Skatalites,
Robert Görl,
the Normal,
Scientists,
Brand Nubian,
Janne Schatter,
Ultramagnetic MC's,
Michelle Simonal,
Trumans Water,
Ash Ra Tempel,
Josef K,
The Jesus and Mary Chain,
Masters at Work,
The Blues Magoos,
Laurel Aitken,
Lakeside,
Von Mondo,
The Kinks,
Electric Light Orchestra,
John Lydon,
The Young Rascals,
Neil Young & Crazy Horse,
The Pretty Things,
Alison Limerick,
The Slackers,
Delta 5,
Pierre Henry,
Terror Squad Feat. Camron,
Tubeway Army,
Bob Dylan,
The Modern Lovers,
Letta Mbulu,
48th St. Collective,
The West Coast Pop Art Experimental Band,
Pole,
The Grass Roots,
Pete Rock & C.L. Smooth,
Susan Cadogan,
Dr. Dre and Snoop Doggy Dog,
Flamin' Groovies,
Nirvana,
Black Pus,
Rapeman,
Monolake,
Ice-T,
Tommy Roe,
China Crisis,
Shoche,
The Victims, The Victims, The Victims, The Victims.
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.