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 Belgium and from Toronto.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Manila.
I'm losing my edge to the art-school Salvador 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 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 Thompson Twins to the dance 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 Lebanon Hanover. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every The Remains record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
the Soft Cell,
Symarip,
Popol Vuh,
Skaos,
Girls At Our Best!,
The Stooges,
Swans,
Lebanon Hanover,
Steve Hackett,
The Barracudas,
Chris Corsano,
Lonnie Liston Smith,
Matthew Halsall,
The Moleskins,
Little Man,
Alton Ellis,
Moebius,
Sister Nancy,
The Tremeloes,
Eddi Front,
Severed Heads,
The Busters,
Junior Murvin,
Grandmaster Flash,
Ossler,
Pete Rock & C.L. Smooth,
Soulsonic Force,
Radio Birdman,
The Index,
Donny Hathaway,
Davy DMX,
Eyeless In Gaza,
Electric Light Orchestra,
Isaac Hayes,
Maleditus Sound,
Mars,
Peter and Kerry,
Gang Starr,
Eden Ahbez,
De La Soul & Jungle Brothers,
The Seeds,
Charles Mingus,
8 Eyed Spy,
Röyhkä ja Rättö ja Lehtisalo,
Marshall Jefferson,
UT,
Alison Limerick,
Tres Demented,
Robert Wyatt,
Sticky Fingaz feat. Raekwon,
Notorious Big And Bone Thugs,
FM Einheit,
David McCallum,
Lindisfarne,
Aural Exciters,
Sad Lovers and Giants,
the Bar-Kays,
Eurythmics,
Jawbox, Jawbox, Jawbox, Jawbox.
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.