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 Angola and from Columbus.
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 1977.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
I'm losing my edge to the art-school Winnipeg 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar 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 Dennis Brown to the grime kids.
I played it at the 40 Watt.
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 Durutti Column. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every CMW 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Dennis Brown record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Sparks,
Andrew Hill,
Ultramagnetic MC's,
Sticky Fingaz feat. Raekwon,
Thompson Twins,
The Pop Group,
Bush Tetras,
The Fall,
Albert Ayler,
London Community Gospel Choir,
Lungfish,
MDC,
the Human League,
Outsiders,
X-102,
The Pretty Things,
Glenn Branca,
the Slits,
Alton Ellis,
Symarip,
Stereo Dub,
Mr. Review,
Ash Ra Tempel,
Sixth Finger,
Jacques Brel,
Soft Cell,
Sällskapet,
Stetsasonic,
Heaven 17,
Barclay James Harvest,
The Slackers,
Nick Cave & The Bad Seeds,
John Foxx,
Peter and Kerry,
Drive Like Jehu,
Pylon,
Quantec,
Roy Ayers,
Gil Scott-Heron and Jamie xx,
Barry Ungar,
Cal Tjader,
The Last Poets,
Crooked Eye,
Bronski Beat,
Aswad,
The Names,
Wings,
Brass Construction,
One Last Wish,
Thinking Fellers Union Local 282,
Neil Young,
The Sisters of Mercy,
10cc,
F. McDonald,
Pete Rock & C.L. Smooth,
the Germs,
Sound Behaviour,
The Slits,
X-Ray Spex,
X-101,
June of 44, June of 44, June of 44, June of 44.
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.