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 Turkey and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Toronto and Copenhagen.
I'm losing my edge to the art-school Manchester 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 marimba 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 Khruangbin to the dance kids.
I played it at the Astoria.
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 DNA. All the underground hits.
All Camron Feat. Jay Z And Juelz tracks. I heard you have a vinyl of every X-Ray Spex 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Spandau Ballet,
the Association,
Mandrill,
The United States of America,
Bluetip,
Boogie Down Productions,
Q and Not U,
The Remains,
Kings Of Tomorrow,
The Standells,
Mo-Dettes,
Faraquet,
Quantec,
Masters at Work,
Little Man,
The Associates,
Moebius,
Gil Scott-Heron & Brian Jackson,
Charles Mingus,
Jerry Gold Smith,
Funkadelic,
Graham Central Station,
Pole,
Byron Stingily,
Ossler,
The Modern Lovers,
Delon & Dalcan,
Soft Machine,
Peter & Gordon,
Gregory Isaacs,
Big Daddy Kane,
Pussy Galore,
Ronnie Foster,
Scott Walker,
Bauhaus,
Boz Scaggs,
Deadbeat,
Sonic Youth,
Darondo,
Vladislav Delay,
Rowland S Howard / Lydia Lunch,
Pierre Henry,
Wighnomy Brothers & Robag Wruhme,
Sex Pistols,
Jesper Dahlbäck,
The Zeros,
The Dirtbombs,
Malaria!,
Lou Reed & Metallica,
One Last Wish,
Ohio Players,
Severed Heads,
Young Marble Giants,
Eli Mardock,
Blancmange,
The Mighty Diamonds,
Slave,
Stetsasonic,
Hoover,
R.M.O.,
In Retrospect,
X-101,
The Slits,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.