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 Bolivia and from Shanghai.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Manila and Madrid.
I'm losing my edge to the art-school Philadelphia 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 guitar 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 Johnny Osbourne to the crunk 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 The Index. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every Pagans record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Altered Images,
Anakelly,
The Litter,
It's A Beautiful Day,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Reuben Wilson,
Brand Nubian,
Loose Ends,
Chrome,
Art Ensemble Of Chicago,
The Selecter,
Jawbox,
Chris & Cosey,
Pussy Galore,
Blake Baxter,
Avey Tare's Slasher Flicks,
CMW,
The Doors,
The Slits,
Kerrie Biddell,
Soulsonic Force,
Rapeman,
The Divine Comedy,
The Red Krayola,
Gong,
Rakim,
Howard Jones,
Glambeats Corp.,
DNA,
The Durutti Column,
John Foxx,
Tubeway Army,
L. Decosne,
Pierre Henry,
Peter and Kerry,
Kas Product,
Flipper,
Grandmaster Flash and the Furious Five,
Barbara Tucker,
Man Parrish,
Rotary Connection,
Ultra Naté,
The Mummies,
Aswad,
Tim Buckley,
Bobby Hutcherson,
Gang Gang Dance,
Visionaries,LMNO, T- Love & Iriscience,
Yellowson,
Livin' Joy,
Tom Boy,
Dave Gahan,
Kurtis Blow,
The Fuzztones,
Soft Machine,
Rekid,
Marc Almond,
Lebanon Hanover,
Marshall Jefferson,
Mission of Burma,
Arthur Verocai,
Michelle Simonal,
Icehouse,
Idris Muhammad,
The Leaves, The Leaves, The Leaves, The Leaves.
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.