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 Vanuatu and from Houston.
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 1970.
I'm losing my edge.
To all the kids in Paris and Stockholm.
I'm losing my edge to the art-school Bremen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Kauko Röyhkä ja Narttu to the crunk 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 Graham Central Station. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Howard Jones 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 '80s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Whodini record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Larry & the Blue Notes,
Patti Smith,
Avey Tare's Slasher Flicks,
KRS-One,
Rosa Yemen,
Icehouse,
Au Pairs,
The Gories,
Radio Birdman,
Matthew Halsall,
June Days,
Max Romeo,
Funkadelic,
Sällskapet,
Morten Harket,
The Raincoats,
Scientists,
Mars,
Selector Dub Narcotic,
MC5,
Michelle Simonal,
The Angels of Light,
Iggy Pop,
Technova,
Big Daddy Kane,
Electric Prunes,
Angry Samoans,
Soft Machine,
Cluster,
The Offenders,
Maurizio,
Matthew Bourne,
Easy Going,
World's Most,
L. Decosne,
The Real Kids,
Grandmaster Flash and the Furious Five,
DJ Sneak,
The Leaves,
The Index,
June of 44,
Terry Callier,
Porter Ricks,
Don Cherry,
Notorious BIG live in Amsterdam,
Isaac Hayes,
Los Fastidios,
Jerry Gold Smith,
Delon & Dalcan,
Charles Mingus,
Ice-T,
Jeff Lynne,
Delta 5,
Minor Threat,
The Neon Judgement,
Alton Ellis,
Bobby Byrd,
Von Mondo,
The Beau Brummels,
Gang Starr,
Neil Young & Crazy Horse,
Minnie Riperton,
Section 25,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.