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 Bhutan and from Jakarta.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Manchester.
I'm losing my edge to the art-school Halifax 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 theremin 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 Busters to the rock kids.
I played it at Trash.
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 Mighty Diamonds. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every T. Rex 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Jesper Dahlback,
Echo & the Bunnymen,
Letta Mbulu,
ABBA,
London Community Gospel Choir,
Quando Quango,
Lou Reed,
Man Parrish,
The Offenders,
Terrestrial Tones,
Minny Pops,
John Lydon,
Organ,
The Slits,
Eddi Front,
Terry Callier,
kango's stein massive,
Stiv Bators,
Judy Mowatt,
Aaron Thompson,
Pet Shop Boys,
The Fuzztones,
Jacques Brel,
The Martian,
The Barracudas,
Thinking Fellers Union Local 282,
Piero Umiliani,
Symarip,
The Sonics,
Ken Boothe,
Louis and Bebe Barron,
Gang of Four,
Amon Düül II,
Leonard Cohen,
Minnie Riperton,
Scan 7,
The Electric Prunes,
Gerry Rafferty,
MDC,
Althea and Donna,
Johnny Clarke,
Pharoah Sanders,
Ralphi Rosario,
B.T. Express,
Public Image Ltd.,
Pantaleimon,
Bob Dylan,
Gabor Szabo,
The Men They Couldn't Hang,
The Raincoats,
Fear,
Joensuu 1685,
The Birthday Party,
The Mojo Men,
Country Joe & The Fish,
Ice-T,
Unwound,
Janne Schatter,
The Shadows of Knight,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.