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 Afghanistan and from Beijing.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Cairo.
I'm losing my edge to the art-school Paris 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 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 Byron Stingily to the electroclash kids.
I played it at Cafe Wha.
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 Normal. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Altered Images 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 '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
The J.B.'s,
Excepter,
Marmalade,
The Busters,
Erasure,
The Divine Comedy,
Sad Lovers and Giants,
London Community Gospel Choir,
Peter Gordon & Love of Life Orchestra,
Vaughan Mason & Crew,
KRS-One,
The Star Department,
Amazonics,
Soft Machine,
The Alarm Clocks,
Liaisons Dangereuses,
The Cowsills,
The Flesh Eaters,
Rites of Spring,
Art Ensemble Of Chicago,
Maleditus Sound,
Joyce Sims,
Pete Rock & C.L. Smooth,
The Shadows of Knight,
Rufus Thomas,
Eric Copeland,
Girls At Our Best!,
Black Flag,
Eurythmics,
The Slits,
Mark Hollis,
Janne Schatter,
The Mojo Men,
The Raincoats,
Alison Limerick,
Todd Terry,
These Immortal Souls,
X-101,
Cybotron,
Grandmaster Flash,
Eve St. Jones,
Lyres,
Oneida,
K-Klass,
Manfred Mann's Earth Band,
Massinfluence,
PIL,
Depeche Mode,
Röyhkä ja Rättö ja Lehtisalo,
Laurel Aitken,
Stereo Dub,
The Modern Lovers,
Lightning Bolt,
John Foxx,
La Düsseldorf,
Blossom Toes,
Mo-Dettes,
Bob Dylan,
Don Cherry,
Kerrie Biddell,
the Bar-Kays,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.