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 Somalia and from Tokyo.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Mumbai and London.
I'm losing my edge to the art-school Winnipeg 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 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 Remains to the techno kids.
I played it at the Spitz.
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 Yazoo. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Cluster record on German import.
I heard that you have a white label of every seminal grunge 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 linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thinking Fellers Union Local 282,
The Searchers,
Talk Talk,
Mary Jane Girls,
Niagra,
Reuben Wilson,
Susan Cadogan,
Minnie Riperton,
Suburban Knight,
a-ha,
David Bowie,
The Kinks,
Patti Smith,
T. Rex,
T.S.O.L.,
Wire,
Slave,
Orchestral Manoeuvres in the Dark,
Arcadia,
ABC,
Black Sheep,
Lindisfarne,
Gil Scott Heron,
Rhythim Is Rhythim,
The Blackbyrds,
The Doobie Brothers,
The Knickerbockers,
Technova,
Howard Jones,
Fluxion,
Mars,
Sarah Menescal,
Sunsets and Hearts,
Japan,
Boogie Down Productions,
Eddi Front,
Ituana,
Marshall Jefferson,
The Index,
Skarface,
Bob Dylan,
Michelle Simonal,
The Selecter,
Franke,
Henry Cow,
The Dirtbombs,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pharaoh Sanders and the Fire Engines,
Jacques Brel,
Cybotron,
Strawberry Alarm Clock,
the Bar-Kays,
Banda Bassotti,
EPMD,
Faust,
Unwound,
Wolf Eyes,
Urselle,
R.M.O.,
the Fania All-Stars,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.