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 Brazil and from Lyon.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1975.
I'm losing my edge.
To all the kids in Salvador and Bologna.
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 arpeggiator 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 Gichy Dan to the disco kids.
I played it at the Roxy.
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 June Days. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Rufus Thomas record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Dr. Dre and Snoop Doggy Dog record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
Fat Boys,
Crash Course in Science,
A Certain Ratio,
The Trojans,
Vladislav Delay,
Intrusion,
Charles Mingus,
Jerry Gold Smith,
Erasure,
Aswad,
Lebanon Hanover,
James White and The Blacks,
The Cure,
Infiniti,
Suicide,
Angry Samoans,
Surgeon,
the Human League,
Ultra Naté,
Buzzcocks,
Anakelly,
Rites of Spring,
Symarip,
Eric Copeland,
Monolake,
Adolescents,
Cecil Taylor,
B.T. Express,
Lee Hazlewood,
Larry & the Blue Notes,
Camron Feat. Memphis Bleek And Beenie Seigel,
Japan,
Gabor Szabo,
The Birthday Party,
The Royal Family And The Poor,
The Monochrome Set,
The Slits,
Judy Mowatt,
Johnny Osbourne,
Simply Red,
Grauzone,
The Fall,
JFA,
The Gories,
Q and Not U,
Sound Behaviour,
Hasil Adkins,
Young Marble Giants,
Blossom Toes,
Spandau Ballet,
T. Rex,
Max Romeo,
Gang of Four,
Chrome,
Deakin,
Hashim,
Silicon Teens,
Model 500,
Selector Dub Narcotic,
The Cosmic Jokers,
Cheater Slicks, Cheater Slicks, Cheater Slicks, Cheater Slicks.
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.