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 Senegal and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Salvador and Houston.
I'm losing my edge to the art-school Mexico City 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the guitar sounds with much patience.
I was there when Nile Rodgers 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 Pierre Henry to the jazz kids.
I played it at the Troubador.
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 Slick Rick. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every Delon & Dalcan record on German import.
I heard that you have a white label of every seminal rock 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 an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
The Selecter,
June Days,
Masters at Work,
Black Sheep,
The Moleskins,
Flipper,
Grauzone,
ABBA,
The Electric Prunes,
Yazoo,
Hardrive,
Symarip,
Theoretical Girls,
Altered Images,
Cal Tjader,
The Gun Club,
Eurythmics,
X-101,
Hot Snakes,
Matthew Bourne,
Charles Mingus,
John Cale,
Malaria!,
The Happenings,
Patti Smith,
The Saints,
Television Personalities,
Neil Young,
Bobby Hutcherson,
Jesper Dahlbäck,
F. McDonald,
10cc,
Can,
Heaven 17,
Deadbeat,
The Music Machine,
Pole,
Wally Richardson,
Kool Moe Dee,
Intrusion,
Wings,
Richard Hell and the Voidoids,
The Skatalites,
Cecil Taylor,
The Fall,
The Walker Brothers,
Liliput,
Delon & Dalcan,
The Gap Band,
Lonnie Liston Smith,
Justin Hinds & The Dominoes,
Howard Jones,
Jeff Lynne,
Quadrant,
Los Fastidios,
Boz Scaggs,
Radio Birdman,
Frankie Knuckles,
Hasil Adkins,
Scrapy,
Desert Stars,
Ponytail, Ponytail, Ponytail, Ponytail.
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.