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 Lebanon and from Seoul.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Milan and Lille.
I'm losing my edge to the art-school Madrid 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 synthesizer 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 Hot Snakes to the rock 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 The Busters. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Loose Ends record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Todd Terry,
Deadbeat,
B.T. Express,
the Association,
Big Daddy Kane,
Zapp,
Mandrill,
The Slits,
Peter and Kerry,
Altered Images,
The Residents,
Al Stewart,
Oppenheimer Analysis,
Ohio Players,
Malaria!,
Panda Bear,
Royal Trux,
Dr. Dre and Snoop Doggy Dog,
Fat Boys,
Curtis Mayfield,
Susan Cadogan,
Ornette Coleman,
Eden Ahbez,
Teenage Jesus and the Jerks,
Eyeless In Gaza,
The Index,
Sound Behaviour,
Kenny Larkin,
Toni Rubio,
Matthew Halsall,
Depeche Mode,
Icehouse,
The Cramps,
Eve St. Jones,
Deepchord,
Whodini,
The Mighty Diamonds,
World's Most,
Crispy Ambulance,
Wings,
Das Ding,
The Velvet Underground,
Deutsch Amerikanische Freundschaft,
Sandy B,
Neil Young,
The Monochrome Set,
Maleditus Sound,
Arcadia,
Kool Moe Dee,
Yazoo,
Prince Buster,
Lalann,
Swans,
The Fire Engines,
R.M.O.,
X-Ray Spex,
Rhythim Is Rhythim,
Matthew Bourne,
Bang on a Can All-Stars,
Half Japanese,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.