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 Poland and from Hong Kong.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Bologna and Salvador.
I'm losing my edge to the art-school Manchester 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 linndrum 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 Theoretical Girls to the funk kids.
I played it at the Hacienda.
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 Radiopuhelimet. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every The Durutti Column 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Soul Sonic Force record.
I hear that you and your band have sold your rhodes and bought a 808.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
the Swans,
CMW,
Organ,
Lakeside,
Minutemen,
Masters at Work,
The Fortunes,
Rowland S Howard / Lydia Lunch,
Ajijia Myrayebe,
Fatback Band,
Intrusion,
Main Source,
Captain Beefheart & His Magic Band,
Robert Görl,
Magazine,
The Pop Group,
Liliput,
Skarface,
Ten City,
Max Romeo,
Aural Exciters,
Derrick May,
Television,
Simply Red,
Dennis Brown,
Pere Ubu,
The Blues Magoos,
Sad Lovers and Giants,
B.T. Express,
Sound Behaviour,
8 Eyed Spy,
The Victims,
JFA,
Oppenheimer Analysis,
Avey Tare & Kría Brekkan,
Negative Approach,
Terrestrial Tones,
the Soft Cell,
The Red Krayola,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jacob Miller,
Jerry Gold Smith,
Spandau Ballet,
The Zeros,
Oblivians,
Yaz,
Drexciya,
Manfred Mann's Earth Band,
The Cosmic Jokers,
Eden Ahbez,
Angry Samoans,
Index,
Flamin' Groovies,
The Real Kids,
Harmonia,
Radio Birdman,
Scratch Acid,
Kings Of Tomorrow,
Harry Pussy,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.