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 Seychelles and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Bologna and Tokyo.
I'm losing my edge to the art-school Lagos 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Super Lover Cee & Casanova Rud to the electroclash 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 Moss Icon. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Alice Coltrane 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Skarface,
The Cowsills,
cv313,
Metal Thangz,
Spandau Ballet,
Dead Boys,
Vladislav Delay,
China Crisis,
Rod Modell,
Radio Birdman,
PIL,
Funkadelic,
DNA,
Crime,
Excepter,
Goldenarms,
Fifty Foot Hose,
Crispian St. Peters,
Chrome,
Bronski Beat,
Alison Limerick,
Swell Maps,
Joyce Sims,
Henry Cow,
the Bar-Kays,
Gary Puckett & The Union Gap,
Todd Terry,
Sun Ra,
Eurythmics,
Reuben Wilson,
Idris Muhammad,
MC5,
Pole,
New York Dolls,
The Grass Roots,
Young Marble Giants,
Ponytail,
Sparks,
Moby Grape,
Morten Harket,
The Monks,
Gil Scott-Heron & Brian Jackson,
Brick,
The Sisters of Mercy,
The Electric Prunes,
Lower 48,
Malaria!,
Bobby Womack,
the Fania All-Stars,
Hasil Adkins,
Eric Dolphy,
Ohio Players,
Lalo Schifrin,
EPMD,
The Gun Club,
Outsiders,
One Last Wish,
Bang on a Can All-Stars,
The Pop Group,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.