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 Maldives and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1970.
I'm losing my edge.
To all the kids in Manila and Milan.
I'm losing my edge to the art-school Tokyo 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 The Martian to the crunk kids.
I played it at the Crocodile.
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 Alison Limerick. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Toni Rubio record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Bronski Beat,
Kurtis Blow,
Chris Corsano,
Eddi Front,
Electric Light Orchestra,
Barclay James Harvest,
The Golliwogs,
Stetsasonic,
Sound Behaviour,
Main Source,
K-Klass,
Ralphi Rosario,
Avey Tare,
Sly & The Family Stone,
Skaos,
The Slits,
Icehouse,
Eyeless In Gaza,
Jacob Miller,
Sparks,
The Sisters of Mercy,
Kevin Saunderson,
Yazoo,
Skriet,
The Last Poets,
The Durutti Column,
Michelle Simonal,
Nick Fraelich,
Al Stewart,
David Bowie,
Johnny Osbourne,
Wire,
Colin Newman,
Model 500,
Lee Hazlewood,
Curtis Mayfield,
Subhumans,
Tres Demented,
London Community Gospel Choir,
Selector Dub Narcotic,
Nirvana,
Marc Almond,
Supertramp,
Alison Limerick,
Scientists,
The Alarm Clocks,
Technova,
Susan Cadogan,
Pylon,
Kerri Chandler,
Easy Going,
Be Bop Deluxe,
Angry Samoans,
Spoonie Gee,
Lucky Dragons,
Louis and Bebe Barron,
Can,
David Axelrod,
the Swans,
Little Man,
DNA, DNA, DNA, DNA.
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.