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 Burkina and from Lille.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Accra and Sao Paulo.
I'm losing my edge to the art-school Copenhagen 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Funkadelic to the rap 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 Sight & Sound. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Kango’s Stein Massive 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Gerry Rafferty,
Surgeon,
The Tremeloes,
Max Romeo,
The Blues Magoos,
Art Ensemble Of Chicago,
Angry Samoans,
Excepter,
The Velvet Underground,
Delon & Dalcan,
Supertramp,
Brass Construction,
Rhythm & Sound,
David Bowie,
Grauzone,
Marshall Jefferson,
Lindisfarne,
The Smoke,
Spandau Ballet,
Make Up,
Fatback Band,
Sex Pistols,
Main Source,
The Mummies,
Traffic Nightmare,
Gang Starr,
Be Bop Deluxe,
Sight & Sound,
Sly & The Family Stone,
Lee Hazlewood,
Nik Kershaw,
Eve St. Jones,
Lou Reed & Metallica,
Morten Harket,
Marine Girls,
The Names,
Q65,
Pantaleimon,
Flipper,
Kool Moe Dee,
The Vogues,
Johnny Osbourne,
Avey Tare,
London Community Gospel Choir,
Drexciya,
Radiohead,
The Associates,
Ash Ra Tempel,
Aloha Tigers,
Sonny Sharrock,
Marvin Gaye,
The Doobie Brothers,
Sticky Fingaz feat. Raekwon,
Circle Jerks,
Absolute Body Control,
Brothers Johnson,
Bobby Hutcherson,
Public Image Ltd.,
the Germs,
Roger Hodgson,
Kurtis Blow,
X-102, X-102, X-102, X-102.
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.