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 Barbados and from Lyon.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Beijing and Milan.
I'm losing my edge to the art-school Glasgow 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 guitar 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 Grauzone to the techno kids.
I played it at Cafe Wha.
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 Iggy Pop. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Jeff Mills record on German import.
I heard that you have a white label of every seminal dance 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 a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your marimba and bought a guitar.
I hear that you and your band have sold your guitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Rod Modell,
Johnny Osbourne,
Sound Behaviour,
Stetsasonic,
Boogie Down Productions,
Avey Tare & Kría Brekkan,
X-Ray Spex,
Nik Kershaw,
Moss Icon,
Ultramagnetic MC's,
Second Layer,
Tres Demented,
Ornette Coleman,
Marine Girls,
The Detroit Cobras,
Alison Limerick,
Arab on Radar,
Grandmaster Flash,
Rosa Yemen,
Schoolly D,
The Jesus and Mary Chain,
Fugazi,
Sandy B,
Jesper Dahlbäck,
Brand Nubian,
Donald Byrd,
The Residents,
ABC,
The Electric Prunes,
Heavy D & The Boyz,
Popol Vuh,
Guru Guru,
Ronan,
E-Dancer,
Matthew Bourne,
Deutsch Amerikanische Freundschaft,
Anthony Braxton,
Liaisons Dangereuses,
David Bowie,
Cybotron,
Adolescents,
Avey Tare's Slasher Flicks,
Duran Duran,
Big Daddy Kane,
Kings Of Tomorrow,
Yaz,
Chrome,
The Cure,
Cameo,
the Human League,
Jeff Lynne,
Major Organ And The Adding Machine,
Johnny Clarke,
Rowland S Howard / Lydia Lunch,
the Fania All-Stars,
Rapeman,
Nick Fraelich,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.