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 United States and from Paris.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
I'm losing my edge to the art-school Jakarta 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 Buzzcocks practice in a loft in Bolton.
I was working on the marimba 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 La Düsseldorf to the rap kids.
I played it at the 40 Watt.
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 Shuggie Otis. All the underground hits.
All The Happenings tracks. I heard you have a vinyl of every Excepter record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
The Happenings,
Terrestrial Tones,
The Associates,
Deutsch Amerikanische Freundschaft,
Dead Boys,
Maurizio,
R.M.O.,
It's A Beautiful Day,
Lalo Schifrin,
Scion,
Silicon Teens,
Sonic Youth,
Major Organ And The Adding Machine,
Von Mondo,
Grandmaster Flash and the Furious Five,
Wally Richardson,
Dorothy Ashby,
Little Man,
Drive Like Jehu,
Gerry Rafferty,
Bill Wells,
A Certain Ratio,
Public Enemy,
Faust,
The Mighty Diamonds,
Heaven 17,
The Tremeloes,
Loose Ends,
The Index,
Smog,
Section 25,
The Music Machine,
Junior Murvin,
X-101,
Vaughan Mason & Crew,
Toni Rubio,
Rufus Thomas,
Deakin,
Public Image Ltd.,
The Flesh Eaters,
Archie Shepp,
The Cramps,
Glambeats Corp.,
Jawbox,
Gary Puckett & The Union Gap,
Cymande,
Cluster,
Simply Red,
AZ,
Alice Coltrane,
The American Breed,
Roxy Music,
Mars,
Mary Jane Girls,
Guru Guru,
Sad Lovers and Giants,
Nico,
Alton Ellis,
The Real Kids,
The Wake,
Stiv Bators,
Delta 5,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.