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 Rwanda and from Johannesburg.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1979.
I'm losing my edge.
To all the kids in Hong Kong and Columbus.
I'm losing my edge to the art-school Milan 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 organ 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 Anthony Braxton 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 The Leaves. All the underground hits.
All The Knickerbockers tracks. I heard you have a vinyl of every CMW record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Röyhkä ja Rättö ja Lehtisalo,
Kool G Rap & DJ Polo,
Gil Scott-Heron & Brian Jackson,
Sound Behaviour,
The Searchers,
John Foxx,
Newcleus,
Second Layer,
Wings,
The Fugs,
the Slits,
Shuggie Otis,
Orchestral Manoeuvres in the Dark,
Aaron Thompson,
John Holt,
Alphaville,
Angry Samoans,
Terry Callier,
Slave,
Loose Ends,
New York Dolls,
Barrington Levy,
Blossom Toes,
The Names,
The Knickerbockers,
Blancmange,
Roxy Music,
Ten City,
Fifty Foot Hose,
The Motions,
Grandmaster Flash,
Gang Green,
Sarah Menescal,
Big Daddy Kane,
David Bowie,
Index,
Cheater Slicks,
Crispian St. Peters,
Ultra Naté,
Das Ding,
World's Most,
Y Pants,
Leonard Cohen,
Whodini,
Grauzone,
Grandmaster Flash and the Furious Five,
KRS-One,
The Electric Prunes,
Mark Hollis,
Average White Band,
Davy DMX,
Tommy Roe,
China Crisis,
Rekid,
D'Angelo,
a-ha,
Fela Kuti,
The American Breed,
Louis and Bebe Barron,
The Men They Couldn't Hang,
Excepter,
Junior Murvin, Junior Murvin, Junior Murvin, Junior Murvin.
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.