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 Saudi Arabia and from Glasgow.
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 Lille and Calgary.
I'm losing my edge to the art-school Hong Kong 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 808 sounds with much patience.
I was there when Holger Czukay 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 48th St. Collective to the grime kids.
I played it at the Astoria.
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 Bobbi Humphrey. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Qualms,
Little Man,
Minor Threat,
Kango’s Stein Massive,
Liliput,
Roy Ayers Ubiquity,
John Foxx,
The Smoke,
Groovy Waters,
Marine Girls,
Babytalk,
Eurythmics,
Magma,
John Coltrane,
The Monks,
Barrington Levy,
David Axelrod,
Index,
Anakelly,
Erasure,
Michelle Simonal,
Kauko Röyhkä ja Narttu,
AZ,
Fela Kuti,
Oppenheimer Analysis,
Youth Brigade,
Tom Boy,
Marc Romboy vs. Booka Shade,
The Victims,
Electric Light Orchestra,
Mars,
Danielle Patucci,
Niagra,
Marmalade,
Circle Jerks,
the Soft Cell,
Aswad,
The Knickerbockers,
Fort Wilson Riot,
Howard Jones,
Jacob Miller,
Fatback Band,
The Human League,
John Holt,
Kas Product,
Selector Dub Narcotic,
Q and Not U,
Nation of Ulysses,
Man Parrish,
Depeche Mode,
Pharaoh Sanders and the Fire Engines,
Ice-T,
The Men They Couldn't Hang,
The Young Rascals,
Hasil Adkins,
Gang Starr,
CMW,
The Last Poets,
Lalo Schifrin,
Jacques Brel,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.