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 Paraguay and from Shanghai.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Manchester and Stockholm.
I'm losing my edge to the art-school Mumbai 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 Wire practice in a loft in Watford.
I was working on the theremin 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 Howard Jones to the funk 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 Archie Shepp. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every Sparks 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
Jerry Gold Smith,
John Cale,
CMW,
The Blues Magoos,
David Bowie,
The Victims,
Notorious BIG live in Amsterdam,
Echo & the Bunnymen,
Mo-Dettes,
Gong,
Negative Approach,
Susan Cadogan,
Chris & Cosey,
KRS-One,
Glenn Branca,
the Germs,
Slave,
Mark Hollis,
Gary Puckett & The Union Gap,
The Offenders,
Fort Wilson Riot,
Gang Green,
Juan Atkins,
Shuggie Otis,
Joensuu 1685,
Stiv Bators,
The Walker Brothers,
Cal Tjader,
Slick Rick,
John Foxx,
Talk Talk,
Matthew Halsall,
Vainqueur,
Glambeats Corp.,
Thompson Twins,
Alice Coltrane,
The Standells,
Sun Ra Arkestra,
Donny Hathaway,
Stereo Dub,
The American Breed,
Notorious Big And Bone Thugs,
Sight & Sound,
Kool G Rap & DJ Polo,
Supertramp,
Altered Images,
Dorothy Ashby,
Sällskapet,
Deepchord,
Robert Görl,
Rufus Thomas,
Eric B and Rakim,
Byron Stingily,
Duran Duran,
Spandau Ballet,
The Residents,
The Chocolate Watch Band,
Amon Düül II,
Nils Olav,
A Flock of Seagulls,
Lebanon Hanover,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.