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 Kyrgyzstan and from Portland.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1975.
I'm losing my edge.
To all the kids in Accra and Accra.
I'm losing my edge to the art-school Madrid 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Camouflage to the jazz kids.
I played it at the Spitz.
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 The Mojo Men. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Be Bop Deluxe record on German import.
I heard that you have a white label of every seminal disco 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 a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
Hot Snakes,
Junior Murvin,
The Cosmic Jokers,
The Cure,
Max Romeo,
The Moleskins,
Pet Shop Boys,
Jerry's Kids,
AZ,
The Men They Couldn't Hang,
Ajijia Myrayebe,
Yaz,
Leonard Cohen,
Masters at Work,
Sun Ra Arkestra,
Tres Demented,
The Gun Club,
Notorious Big And Bone Thugs,
Drive Like Jehu,
Ultramagnetic MC's,
T.S.O.L.,
Prince Buster,
James Chance & The Contortions,
Joe Finger,
Suicide,
X-101,
The Tremeloes,
The Star Department,
Roger Hodgson,
the Bar-Kays,
the Soft Cell,
Rowland S Howard / Lydia Lunch,
Tim Buckley,
The West Coast Pop Art Experimental Band,
Desert Stars,
Accadde A,
The Sound,
Soul II Soul,
EPMD,
Marshall Jefferson,
Fat Boys,
The Chocolate Watch Band,
Chris & Cosey,
Eurythmics,
Amon Düül,
10cc,
Heavy D & The Boyz,
Television,
James White and The Blacks,
Amon Düül II,
Brass Construction,
Mo-Dettes,
Eve St. Jones,
Urselle,
Icehouse,
Eyeless In Gaza,
Ten City,
Monks,
Derrick Morgan,
Sixth Finger,
Cheater Slicks,
DNA,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.