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 Tonga and from Stockholm.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Houston and Hong Kong.
I'm losing my edge to the art-school Tehran 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 organ sounds with much patience.
I was there when Michael McDonald 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 Kevin Saunderson to the grime kids.
I played it at the Astoria.
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 Second Layer. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Bill Wells 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
Sunsets and Hearts,
Technova,
R.M.O.,
Surgeon,
Inner City,
Angels of Light & Akron/Family,
Sound Behaviour,
Althea and Donna,
David Axelrod,
Lonnie Liston Smith,
Bobby Byrd,
Ultimate Spinach,
Deadbeat,
Big Daddy Kane,
Rakim,
Gerry Rafferty,
World's Most,
Wasted Youth,
Traffic Nightmare,
Rapeman,
U.S. Maple,
Eyeless In Gaza,
Frankie Knuckles,
Sixth Finger,
The Blackbyrds,
Jerry's Kids,
Tommy Roe,
Scientists,
Ponytail,
The Skatalites,
The Zeros,
Black Flag,
The Standells,
The Monks,
Grauzone,
Amon Düül II,
DNA,
Bill Wells,
X-101,
Sight & Sound,
Nation of Ulysses,
Pole,
Sonic Youth,
Main Source,
Orchestral Manoeuvres in the Dark,
London Community Gospel Choir,
The Associates,
X-102,
Oblivians,
Art Ensemble Of Chicago,
Kings Of Tomorrow,
Marc Romboy vs. Booka Shade,
Swell Maps,
The Angels of Light,
Al Stewart,
the Fania All-Stars,
Jacques Brel,
Silicon Teens,
Young Marble Giants,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.