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 Argentina and from London.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Paris.
I'm losing my edge to the art-school Tehran 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 1976 at the first Wire practice in a loft in Watford.
I was working on the güiro 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 Eric Dolphy to the disco kids.
I played it at the Troubador.
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 Subhumans. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Carl Craig record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sisters of Mercy,
Joey Negro,
Andrew Ashong & Theo Parrish,
The Divine Comedy,
Jacques Brel,
Althea and Donna,
Carl Craig,
Con Funk Shun,
U.S. Maple,
Newcleus,
Boz Scaggs,
Spandau Ballet,
Dave Gahan,
Subhumans,
Cymande,
Aural Exciters,
Radiohead,
Suicide,
Al Stewart,
Sonny Sharrock,
Jerry Gold Smith,
Vainqueur,
The Techniques,
Tropical Tobacco,
Toni Rubio,
Youth Brigade,
The Standells,
World's Most,
Sonic Youth,
Michelle Simonal,
LL Cool J,
Alton Ellis,
Lyres,
The Mojo Men,
Make Up,
Ituana,
Zapp,
Gian Franco Pienzio,
Scott Walker + Sunn O))),
Minnie Riperton,
The Grass Roots,
John Foxx,
Black Bananas,
Electric Light Orchestra,
Robert Görl,
L. Decosne,
Fatback Band,
Sparks,
Roxy Music,
John Holt,
Bobby Byrd,
Rhythm & Sound,
The Seeds,
Duran Duran,
B.T. Express,
Gang of Four,
The Fuzztones,
Brick,
Fear, Fear, Fear, Fear.
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.