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 United Kingdom and from Winnipeg.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Manchester and Portland.
I'm losing my edge to the art-school Glasgow 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 sitar 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 Black Moon to the techno 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 The Selecter. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every Kayak record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Warsaw,
The Remains,
Alphaville,
Newcleus,
Kauko Röyhkä ja Narttu,
Ultravox,
Suburban Knight,
Barrington Levy,
Drive Like Jehu,
The Evens,
Symarip,
Kurtis Blow,
Talk Talk,
Ohio Players,
Slave,
T.S.O.L.,
Godley & Creme,
Lou Reed & Metallica,
Clear Light,
Cybotron,
EPMD,
The Gladiators,
a-ha,
Anakelly,
Joe Smooth,
Deutsch Amerikanische Freundschaft,
Pole,
Jimmy McGriff,
Procol Harum,
Eric Dolphy,
Chris & Cosey,
Sad Lovers and Giants,
Marmalade,
Roxette,
Prince Buster,
Lalo Schifrin,
Circle Jerks,
Severed Heads,
Funkadelic,
Joensuu 1685,
Arthur Verocai,
The Standells,
Hardrive,
Justin Hinds & The Dominoes,
The Modern Lovers,
Roy Ayers Ubiquity,
Scientists,
Supertramp,
Jacob Miller,
Jeff Lynne,
Massinfluence,
Gerry Rafferty,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lafayette Afro Rock Band,
Inner City,
Nils Olav,
Faust,
The Martian,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.