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 Thailand and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1979.
I'm losing my edge.
To all the kids in Johannesburg and Madrid.
I'm losing my edge to the art-school Salvador 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 808 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 Average White Band to the punk kids.
I played it at the Hacienda.
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 Association. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Girls At Our Best! 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 '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your güiro and bought a snare.
I hear that you and your band have sold your snare and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Sight & Sound,
Gastr Del Sol,
Pylon,
Skarface,
Pantaleimon,
Fatback Band,
Rekid,
Country Joe & The Fish,
JFA,
June Days,
Make Up,
Lucky Dragons,
Faust,
Connie Case,
Scrapy,
Sound Behaviour,
Cybotron,
The Five Americans,
Dr. Dre and Snoop Doggy Dog,
Model 500,
Lower 48,
The Monks,
Warren Ellis,
Popol Vuh,
Art Ensemble Of Chicago,
Heaven 17,
Con Funk Shun,
Easy Going,
Banda Bassotti,
John Coltrane,
Gian Franco Pienzio,
The Invisible,
The American Breed,
Peter & Gordon,
Panda Bear,
Lou Reed & John Cale,
Stockholm Monsters,
Qualms,
Jesper Dahlback,
Intrusion,
Depeche Mode,
The Zeros,
Japan,
Deadbeat,
Talk Talk,
X-102,
Angry Samoans,
Icehouse,
Aaron Thompson,
Zapp,
Andrew Hill,
Major Organ And The Adding Machine,
Alison Limerick,
The Seeds,
Lafayette Afro Rock Band,
Negative Approach,
Monolake,
Eurythmics,
Rotary Connection,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.