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 Sierra Leone 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 1962 to 1976.
I'm losing my edge.
To all the kids in Edmonton and Halifax.
I'm losing my edge to the art-school Lille 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Buzzcocks to the jazz 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 Deakin. All the underground hits.
All Carl Craig tracks. I heard you have a vinyl of every Al Stewart 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 '90s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Wings record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
London Community Gospel Choir,
Tommy Roe,
The Fuzztones,
Vaughan Mason & Crew,
Black Sheep,
The Moleskins,
B.T. Express,
Oneida,
The United States of America,
The Victims,
The Music Machine,
John Lydon,
In Retrospect,
De La Soul & Jungle Brothers,
Ornette Coleman,
Whodini,
Graham Central Station,
Section 25,
Public Image Ltd.,
The Mojo Men,
Archie Shepp,
Piero Umiliani,
Minor Threat,
Juan Atkins,
Wally Richardson,
Howard Jones,
Lyres,
The Young Rascals,
Easy Going,
Eddi Front,
UT,
The Golliwogs,
Kango’s Stein Massive,
The J.B.'s,
Kevin Saunderson,
the Human League,
Gichy Dan,
Strawberry Alarm Clock,
Rahsaan Roland Kirk,
The Angels of Light,
Josef K,
The Walker Brothers,
The Star Department,
The Cramps,
Roxette,
The Doors,
Bootsy's Rubber Band,
Major Organ And The Adding Machine,
Scott Walker,
Iggy Pop,
The New Christs,
Gil Scott Heron,
Oppenheimer Analysis,
Kenny Larkin,
The Motions,
The Men They Couldn't Hang,
Television,
Teenage Jesus and the Jerks,
The Divine Comedy,
Q65, Q65, Q65, Q65.
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.