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 Afghanistan and from Spokane.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Houston and Paris.
I'm losing my edge to the art-school Delhi 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Slick Rick to the punk kids.
I played it at the Crocodile.
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 Black Moon. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every Carl Craig 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Man Eating Sloth,
R.M.O.,
The Gap Band,
Avey Tare's Slasher Flicks,
Louis and Bebe Barron,
The Fuzztones,
Index,
Intrusion,
Juan Atkins,
Dr. Dre and Snoop Doggy Dog,
Stetsasonic,
Minny Pops,
Colin Newman,
Ultimate Spinach,
The Doobie Brothers,
48th St. Collective,
Newcleus,
the Bar-Kays,
H. Thieme,
Althea and Donna,
Grandmaster Flash and the Furious Five,
Minnie Riperton,
Robert Wyatt,
The Gladiators,
The Offenders,
Moby Grape,
Tubeway Army,
Peter and Kerry,
Orchestral Manoeuvres in the Dark,
Gang Gang Dance,
Public Image Ltd.,
Selector Dub Narcotic,
Liaisons Dangereuses,
Wolf Eyes,
the Soft Cell,
the Sonics,
The Slackers,
Funkadelic,
Yaz,
Reagan Youth,
Soulsonic Force,
The Searchers,
Thompson Twins,
Mary Jane Girls,
Howard Jones,
The Wake,
Terrestrial Tones,
The Toasters,
Khruangbin,
Ohio Players,
Siglo XX,
Urselle,
Electric Light Orchestra,
Gichy Dan,
Jandek,
Ronnie Foster,
Theoretical Girls,
the Association,
Radio Birdman,
Quantec,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.