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 Seychelles and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1972.
I'm losing my edge.
To all the kids in Paris and Sao Paulo.
I'm losing my edge to the art-school London 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 mellotron 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 The Litter to the grime kids.
I played it at the Crocodile.
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 MC5. All the underground hits.
All The Searchers tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin 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?
Bill Wells,
Zapp,
Alton Ellis,
James Chance & The Contortions,
Sällskapet,
Intrusion,
Pere Ubu,
Hardrive,
The Royal Family And The Poor,
Aloha Tigers,
Barrington Levy,
L. Decosne,
Scratch Acid,
Notorious Big And Bone Thugs,
Pagans,
Sight & Sound,
Technova,
The Offenders,
Kool G Rap & DJ Polo,
The Cowsills,
Gerry Rafferty,
Lalo Schifrin,
Aural Exciters,
the Soft Cell,
Ice-T,
Sound Behaviour,
The Pop Group,
Echo & the Bunnymen,
Duran Duran,
Saccharine Trust,
Pulsallama,
Sun Ra,
Stetsasonic,
Marc Almond,
Röyhkä ja Rättö ja Lehtisalo,
Nick Fraelich,
The Velvet Underground,
Patti Smith,
The Selecter,
Sun City Girls,
Sister Nancy,
Zero Boys,
Pantaleimon,
Jesper Dahlback,
Marshall Jefferson,
Black Pus,
Mad Mike,
The Electric Prunes,
Bootsy's Rubber Band,
Eurythmics,
Wolf Eyes,
Inner City,
Popol Vuh,
Urselle,
Larry & the Blue Notes,
Charles Mingus,
Lou Christie,
Agent Orange,
Flipper,
Strawberry Alarm Clock,
Robert Hood,
Desert Stars,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.