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 Indonesia and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1978.
I'm losing my edge.
To all the kids in Bologna and Halifax.
I'm losing my edge to the art-school Delhi 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Second Layer to the grime kids.
I played it at Trash.
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 Howard Jones. All the underground hits.
All Scientists tracks. I heard you have a vinyl of every Brass Construction 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
The Martian,
Barbara Tucker,
Girls At Our Best!,
Subhumans,
Notorious BIG live in Amsterdam,
Blake Baxter,
Wings,
Gang Green,
Kaleidoscope,
Nation of Ulysses,
Grandmaster Flash,
Visage,
Grauzone,
Tres Demented,
10cc,
Banda Bassotti,
Tubeway Army,
Radiopuhelimet,
a-ha,
Gil Scott-Heron and Jamie xx,
Sound Behaviour,
The Mojo Men,
Funky Four + One,
Lebanon Hanover,
Rufus Thomas,
Eli Mardock,
John Coltrane,
Chrome,
Delta 5,
Brothers Johnson,
DJ Sneak,
Kings Of Tomorrow,
Stockholm Monsters,
The Wake,
Roxette,
Suburban Knight,
Joyce Sims,
Jeff Lynne,
Franke,
Bluetip,
Ludus,
Second Layer,
Suicide,
Black Sheep,
Al Stewart,
Electric Light Orchestra,
The Doobie Brothers,
David Axelrod,
B.T. Express,
Jerry's Kids,
Gregory Isaacs,
Model 500,
Soft Machine,
Con Funk Shun,
Lalo Schifrin,
OOIOO,
New Order,
Alton Ellis,
LL Cool J,
Mantronix,
Icehouse,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.