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 Colombia and from Winnipeg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1978.
I'm losing my edge.
To all the kids in Columbus and Bremen.
I'm losing my edge to the art-school Mexico City 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 harpsichord 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 Smiths to the jazz 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 Thompson Twins. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Be Bop Deluxe 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 '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your sitar and bought a guitar.
I hear that you and your band have sold your guitar and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Lebanon Hanover,
Johnny Clarke,
Bad Manners,
Red Lorry Yellow Lorry,
Ituana,
Aswad,
Heavy D & The Boyz,
Sad Lovers and Giants,
Chrome,
Model 500,
Reagan Youth,
Black Bananas,
Hoover,
The Monks,
Deadbeat,
Albert Ayler,
Jesper Dahlbäck,
Gong,
Derrick May,
Outsiders,
Ken Boothe,
Gang Green,
James White and The Blacks,
The Pop Group,
Max Romeo,
Stockholm Monsters,
Lower 48,
Bill Wells,
The Litter,
Nick Cave & The Bad Seeds,
The Jesus and Mary Chain,
The New Christs,
Kaleidoscope,
Electric Prunes,
Harpers Bizarre,
The Mojo Men,
The Electric Prunes,
Siouxsie and the Banshees,
Ossler,
Eve St. Jones,
Hashim,
Trumans Water,
T.S.O.L.,
The Toasters,
Brick,
Funky Four + One,
Basic Channel,
The Skatalites,
X-Ray Spex,
Aaron Thompson,
Q and Not U,
The Slackers,
Aloha Tigers,
The Index,
John Holt,
Wasted Youth,
Rufus Thomas,
The Gories,
Pussy Galore,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.