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 Lesotho and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Bremen.
I'm losing my edge to the art-school Tokyo 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 H. Thieme to the jazz kids.
I played it at the Astoria.
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 Outsiders. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Rahsaan Roland Kirk record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
The Alarm Clocks,
Barbara Tucker,
Colin Newman,
Wings,
The Gladiators,
Newcleus,
This Heat,
Mission of Burma,
Negative Approach,
UT,
Gang Gang Dance,
Hashim,
Grandmaster Flash,
Rites of Spring,
The Gap Band,
Man Parrish,
Au Pairs,
Eurythmics,
Spandau Ballet,
Black Moon,
N.O.R.E. Featuring Pharrell,
Deutsch Amerikanische Freundschaft,
Kings Of Tomorrow,
The Peanut Butter Conspiracy,
Visage,
Bootsy's Rubber Band,
Oppenheimer Analysis,
A Flock of Seagulls,
Nas,
Rhythm & Sound,
June of 44,
Delta 5,
Bill Wells,
Gil Scott-Heron and Jamie xx,
Robert Hood,
Ossler,
Lonnie Liston Smith,
Monks,
AZ,
Robert Wyatt,
New York Dolls,
Scratch Acid,
Black Pus,
The Remains,
The Stooges,
Kaleidoscope,
Thee Headcoats,
Bootsy Collins,
Reagan Youth,
Red Lorry Yellow Lorry,
Tommy Roe,
Josef K,
Agent Orange,
The Pop Group,
A Certain Ratio,
Q and Not U,
The Knickerbockers,
Dead Boys,
Electric Prunes,
Maleditus Sound,
The Slackers,
48th St. Collective,
Pussy Galore,
The Martian, The Martian, The Martian, The Martian.
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.