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 Syria and from Jakarta.
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 1974.
I'm losing my edge.
To all the kids in Bologna and Tokyo.
I'm losing my edge to the art-school Paris 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 güiro 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 Kevin Saunderson to the rap 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 Barbara Tucker. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Joyce Sims record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Model 500,
Soft Cell,
John Holt,
Sun Ra Arkestra,
Roger Hodgson,
Roy Ayers Ubiquity,
Echospace,
The Pretty Things,
Public Enemy,
Avey Tare,
ABC,
Girls At Our Best!,
Deutsch Amerikanische Freundschaft,
The Fire Engines,
Lalann,
Lou Reed & John Cale,
The Remains,
James Chance & The Contortions,
Super Lover Cee & Casanova Rud,
Swell Maps,
FM Einheit,
L. Decosne,
Scientists,
Max Romeo,
Skaos,
Basic Channel,
Slave,
Goldenarms,
Lizzy Mercier Descloux,
Chris Corsano,
Ajijia Myrayebe,
Flash Fearless,
Marc Almond,
Kings Of Tomorrow,
Talk Talk,
Matthew Bourne,
Excepter,
Hoover,
Barrington Levy,
Harry Pussy,
Kaleidoscope,
Faust,
Fat Boys,
Oblivians,
Ultra Naté,
Gang Gang Dance,
X-102,
The Men They Couldn't Hang,
Surgeon,
Crash Course in Science,
Jimmy McGriff,
Jesper Dahlbäck,
Rod Modell,
Jawbox,
Reagan Youth,
Thinking Fellers Union Local 282,
the Soft Cell,
London Community Gospel Choir,
Gang Starr,
The New Christs, The New Christs, The New Christs, The New Christs.
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.