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 Malawi and from Shanghai.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Delhi and Milan.
I'm losing my edge to the art-school Taipei 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Barclay James Harvest to the grime 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 Eurythmics. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Gong record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Peanut Butter Conspiracy record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Mark Hollis,
Tears for Fears,
Kas Product,
CMW,
Rosa Yemen,
Barry Ungar,
Ronan,
Gian Franco Pienzio,
Curtis Mayfield,
Qualms,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Zeros,
ABBA,
The Saints,
Tubeway Army,
Angels of Light & Akron/Family,
Metal Thangz,
Excepter,
Slave,
Major Organ And The Adding Machine,
Althea and Donna,
Yellowson,
Rod Modell,
Howard Jones,
Terry Callier,
Nas,
Hardrive,
June Days,
MC5,
The Leaves,
Liaisons Dangereuses,
Mo-Dettes,
Kurtis Blow,
Joe Finger,
Harry Pussy,
Notorious BIG live in Amsterdam,
Newcleus,
Eric B and Rakim,
Swell Maps,
The Sound,
The Blackbyrds,
Gil Scott-Heron & Brian Jackson,
Flamin' Groovies,
Monolake,
Drexciya,
Motorama,
Bauhaus,
Bang on a Can All-Stars,
Procol Harum,
The Beau Brummels,
Interpol,
New Age Steppers,
Rotary Connection,
Symarip,
Underground Resistance,
Danielle Patucci,
Don Cherry,
Unrelated Segments,
Erykah Badu,
The Searchers, The Searchers, The Searchers, The Searchers.
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.