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 Djibouti and from Cairo.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1973.
I'm losing my edge.
To all the kids in Milan and Salvador.
I'm losing my edge to the art-school Seoul 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 guitar 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 Morten Harket to the punk 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 Big Daddy Kane. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
Davy DMX,
Lower 48,
Morten Harket,
Nirvana,
Ludus,
Rotary Connection,
Roy Ayers Ubiquity,
Mr. Review,
Bootsy's Rubber Band,
Funkadelic,
Gil Scott-Heron & Brian Jackson,
Neu!,
The Detroit Cobras,
Alison Limerick,
Albert Ayler,
Alphaville,
Kings Of Tomorrow,
Blancmange,
Sparks,
Tubeway Army,
Aaron Thompson,
Radiohead,
Spandau Ballet,
Subhumans,
Hashim,
Erykah Badu,
Marshall Jefferson,
Sam Rivers,
Outsiders,
A Flock of Seagulls,
Bronski Beat,
the Sonics,
The Blues Magoos,
Orchestral Manoeuvres in the Dark,
Captain Beefheart & His Magic Band,
Lakeside,
Idris Muhammad,
Television,
The Residents,
Al Stewart,
Ultimate Spinach,
8 Eyed Spy,
Archie Shepp,
Bobby Sherman,
Joe Finger,
X-Ray Spex,
The United States of America,
Fatback Band,
Teenage Jesus and the Jerks,
Gang of Four,
Echospace,
The Dead C,
The J.B.'s,
Kas Product,
Gregory Isaacs,
Terrestrial Tones,
Massinfluence,
Agitation Free,
kango's stein massive,
Mad Mike,
Gian Franco Pienzio,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.