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 Gambia and from Bremen.
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 1972.
I'm losing my edge.
To all the kids in Houston and Beijing.
I'm losing my edge to the art-school Toronto 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 Rosa Yemen to the rap 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 Barbara Tucker. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Youth Brigade record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
EPMD,
Niagra,
The Tremeloes,
Bluetip,
Black Pus,
Steve Hackett,
Matthew Bourne,
Bill Wells,
Camouflage,
Vainqueur,
Bobby Womack,
Stereo Dub,
D'Angelo,
The Walker Brothers,
Cal Tjader,
Funky Four + One,
The Real Kids,
The Slits,
Crash Course in Science,
The Zeros,
Rufus Thomas,
Quadrant,
Morten Harket,
Marc Romboy vs. Booka Shade,
Moebius,
Supertramp,
Metal Thangz,
Negative Approach,
a-ha,
The Barracudas,
Swell Maps,
Crime,
Derrick May,
The Pop Group,
Royal Trux,
Fluxion,
Charles Mingus,
Jeru the Damaja,
David Bowie,
Throbbing Gristle,
Kerrie Biddell,
Sam Rivers,
Lebanon Hanover,
The Wake,
The Beau Brummels,
Dual Sessions,
Rhythm & Sound,
Sad Lovers and Giants,
Michelle Simonal,
The Misunderstood,
Public Enemy,
The Stooges,
Bauhaus,
The Velvet Underground,
Avey Tare & Kría Brekkan,
Index,
The Jesus and Mary Chain,
Cybotron,
Suicide,
KRS-One,
Deepchord,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.