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 Colombia and from Madrid.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Woodstock.
I'm losing my edge to the art-school Portland 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Mars to the jazz 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 The Grass Roots. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every Roy Ayers 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
the Fania All-Stars,
The Dirtbombs,
Rhythim Is Rhythim,
Lyres,
Swell Maps,
Underground Resistance,
The Motions,
The Human League,
Spandau Ballet,
Sun Ra Arkestra,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Joey Negro,
Nik Kershaw,
Barbara Tucker,
Jeff Mills,
Bad Manners,
Dawn Penn,
Gichy Dan,
Steve Hackett,
Brass Construction,
Donald Byrd,
Judy Mowatt,
Crispian St. Peters,
The Gun Club,
Radio Birdman,
Pantytec,
Tom Boy,
Fugazi,
Louis and Bebe Barron,
Country Teasers,
Echospace,
Rowland S Howard / Lydia Lunch,
Byron Stingily,
Black Moon,
The Chocolate Watch Band,
Terrestrial Tones,
Liaisons Dangereuses,
AZ,
Eurythmics,
Pole,
Laurel Aitken,
Faraquet,
Television Personalities,
The Modern Lovers,
Matthew Halsall,
Cameo,
Deakin,
Maleditus Sound,
Cheater Slicks,
Iggy Pop,
Sarah Menescal,
London Community Gospel Choir,
Thee Headcoats,
The Real Kids,
Rahsaan Roland Kirk,
Vainqueur,
Y Pants,
DJ Sneak,
Throbbing Gristle,
Peter and Kerry,
Darondo,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.