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 Slovakia and from Tokyo.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Madrid and Bremen.
I'm losing my edge to the art-school Hong Kong 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Buckinghams to the disco 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 Sixth Finger. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every The Litter 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 '50s cut and another box set from the '80s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Second Layer,
Barrington Levy,
Inner City,
Liaisons Dangereuses,
Joyce Sims,
Larry & the Blue Notes,
Deakin,
Toni Rubio,
Circle Jerks,
Tommy Roe,
Marc Romboy vs. Booka Shade,
Rod Modell,
Porter Ricks,
The J.B.'s,
The Busters,
Peter & Gordon,
Electric Light Orchestra,
Oppenheimer Analysis,
Bill Wells,
Kerri Chandler,
Kevin Saunderson,
Idris Muhammad,
Sex Pistols,
Selector Dub Narcotic,
Au Pairs,
Bauhaus,
Depeche Mode,
Archie Shepp,
Radiopuhelimet,
Severed Heads,
Supertramp,
The Detroit Cobras,
The Tremeloes,
Lee Hazlewood,
T.S.O.L.,
Sunsets and Hearts,
Roxette,
Amon Düül II,
The Slackers,
Kerrie Biddell,
Sister Nancy,
Bizarre Inc.,
Fifty Foot Hose,
Eli Mardock,
Ornette Coleman,
Neil Young & Crazy Horse,
Gian Franco Pienzio,
Arab on Radar,
The Gun Club,
Henry Cow,
Malaria!,
Soul Sonic Force,
Fort Wilson Riot,
Jerry Gold Smith,
Pet Shop Boys,
The Slits,
June Days,
Todd Rundgren,
Peter and Kerry,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.