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 Cyprus and from Copenhagen.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Glasgow.
I'm losing my edge to the art-school Philadelphia 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 mellotron 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 Blancmange to the rap 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 Agent Orange. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
Alton Ellis,
Cabaret Voltaire,
The Gap Band,
Donald Byrd,
Boogie Down Productions,
Kool Moe Dee,
Marine Girls,
Au Pairs,
Rekid,
Howard Jones,
Make Up,
Warren Ellis,
Eric Dolphy,
Talk Talk,
Kings Of Tomorrow,
Ash Ra Tempel,
Kool G Rap & DJ Polo,
Orchestral Manoeuvres in the Dark,
Echospace,
Mars,
This Heat,
Lindisfarne,
Sexual Harrassment,
Röyhkä ja Rättö ja Lehtisalo,
World's Most,
Pylon,
Tim Buckley,
The Fugs,
Japan,
Hoover,
Lou Reed,
Maleditus Sound,
The Motions,
Sad Lovers and Giants,
Audionom,
Red Lorry Yellow Lorry,
Bobby Byrd,
Newcleus,
Faraquet,
Tubeway Army,
Model 500,
The Buckinghams,
Radio Birdman,
Quantec,
Eden Ahbez,
Franke,
Simply Red,
Cymande,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Peter and Kerry,
Basic Channel,
The Move,
The Tremeloes,
Electric Light Orchestra,
Deutsch Amerikanische Freundschaft,
Ralphi Rosario,
Bronski Beat,
Wasted Youth,
Bobbi Humphrey,
The Techniques, The Techniques, The Techniques, The Techniques.
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.