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 Liberia and from Portland.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Manchester and London.
I'm losing my edge to the art-school Tehran 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Moss Icon to the jazz 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 Alphaville. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Kings Of Tomorrow 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 '50s cut and another box set from the '80s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
The Smoke,
John Foxx,
The Royal Family And The Poor,
Mary Jane Girls,
Isaac Hayes,
The Birthday Party,
Severed Heads,
Roger Hodgson,
Charles Mingus,
Carl Craig,
Bobbi Humphrey,
The Happenings,
Lindisfarne,
Sticky Fingaz feat. Raekwon,
Alice Coltrane,
Heavy D & The Boyz,
Bobby Byrd,
Godley & Creme,
Laurel Aitken,
Boredoms,
DJ Sneak,
Spandau Ballet,
Lightning Bolt,
Newcleus,
Amon Düül,
Goldenarms,
Rapeman,
Young Marble Giants,
Cal Tjader,
Scott Walker,
Manfred Mann's Earth Band,
Magazine,
Minutemen,
Niagra,
Soul II Soul,
Sun Ra Arkestra,
A Flock of Seagulls,
Con Funk Shun,
Nick Cave & The Bad Seeds,
Supertramp,
Visionaries,LMNO, T- Love & Iriscience,
The Doors,
Suicide,
Kas Product,
Scion,
China Crisis,
Harry Pussy,
The Gories,
Minny Pops,
Idris Muhammad,
Terrestrial Tones,
The Beau Brummels,
Siglo XX,
Alphaville,
Sixth Finger,
The Litter,
Man Eating Sloth,
Theoretical Girls,
Gang of Four, Gang of Four, Gang of Four, Gang of Four.
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.