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 Uzbekistan and from Manchester.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Tehran and Lille.
I'm losing my edge to the art-school Bologna 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 chamberlin 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 Index to the techno kids.
I played it at the Hacienda.
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 Blake Baxter. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every The Associates record on German import.
I heard that you have a white label of every seminal rock 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 snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Janne Schatter record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
U.S. Maple,
X-102,
Lightning Bolt,
Leonard Cohen,
The Vogues,
Saccharine Trust,
Agent Orange,
The Walker Brothers,
Spandau Ballet,
Moebius,
Supertramp,
Sugar Minott,
The Martian,
Soft Cell,
Moss Icon,
Gichy Dan,
Ralphi Rosario,
Marc Almond,
The Blues Magoos,
The Birthday Party,
Louis and Bebe Barron,
Mark Hollis,
Bobby Womack,
Gang of Four,
Suicide,
Ultravox,
Aural Exciters,
Cluster,
The Mighty Diamonds,
Lafayette Afro Rock Band,
Jerry's Kids,
Funky Four + One,
Jeff Lynne,
Orchestral Manoeuvres in the Dark,
Avey Tare's Slasher Flicks,
The Mojo Men,
Circle Jerks,
the Bar-Kays,
Joensuu 1685,
Erasure,
Todd Terry,
Röyhkä ja Rättö ja Lehtisalo,
FM Einheit,
KRS-One,
Deutsch Amerikanische Freundschaft,
Big Daddy Kane,
The Pretty Things,
Connie Case,
The Techniques,
Bluetip,
Larry & the Blue Notes,
Kerrie Biddell,
Freddie Wadling,
Electric Prunes,
The Skatalites,
Strawberry Alarm Clock,
Pierre Henry,
Lucky Dragons,
Stockholm Monsters,
Animal Collective,
Model 500,
The Modern Lovers,
Scan 7, Scan 7, Scan 7, Scan 7.
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.