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 Venezuela and from Toronto.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Delhi and Cairo.
I'm losing my edge to the art-school Beijing 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin 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 La Düsseldorf to the dance kids.
I played it at the Hacienda.
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 Electric Light Orchestra. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Smog 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Electric Prunes,
Zero Boys,
A Certain Ratio,
Terror Squad Feat. Camron,
DJ Style,
The Searchers,
Electric Light Orchestra,
Ultravox,
Amazonics,
MDC,
the Human League,
The Trojans,
Scion,
Symarip,
Jesper Dahlback,
Piero Umiliani,
The Sound,
Magazine,
Todd Rundgren,
Ronnie Foster,
Mo-Dettes,
The Beau Brummels,
Unrelated Segments,
the Bar-Kays,
Fugazi,
Arcadia,
Vaughan Mason & Crew,
Dave Gahan,
Delta 5,
Sound Behaviour,
The Cowsills,
Warsaw,
Minutemen,
Avey Tare's Slasher Flicks,
Bill Near,
Angry Samoans,
Be Bop Deluxe,
Maleditus Sound,
The Move,
Oppenheimer Analysis,
Main Source,
the Slits,
PIL,
Cheater Slicks,
Crispian St. Peters,
Carl Craig,
Wire,
The Cosmic Jokers,
Monks,
Kool G Rap & DJ Polo,
The Litter,
Eve St. Jones,
Wings,
It's A Beautiful Day,
Fear,
Chris & Cosey,
FM Einheit,
The Dirtbombs,
The Wake,
Echospace,
Kool Moe Dee,
Archie Shepp,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.