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 Italy and from Cairo.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Edmonton.
I'm losing my edge to the art-school Lyon 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 MDC to the rap kids.
I played it at the Roxy.
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 Kurtis Blow. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Byron Stingily 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 spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalann,
the Human League,
Camouflage,
Chris Corsano,
Faust,
The Gap Band,
Orchestral Manoeuvres in the Dark,
Porter Ricks,
Henry Cow,
Hardrive,
Lungfish,
Letta Mbulu,
Sad Lovers and Giants,
Drive Like Jehu,
Cymande,
Rufus Thomas,
The Count Five,
June of 44,
Rekid,
Graham Central Station,
The Kinks,
Gil Scott Heron,
Audionom,
Soul II Soul,
Crooked Eye,
Fela Kuti,
OOIOO,
The Shadows of Knight,
Oppenheimer Analysis,
Deakin,
Easy Going,
Manfred Mann's Earth Band,
Jimmy McGriff,
The Moleskins,
Junior Murvin,
Charles Mingus,
Red Lorry Yellow Lorry,
Eric Dolphy,
Ken Boothe,
Funky Four + One,
Zapp,
Wolf Eyes,
Bobby Womack,
Bootsy Collins,
Angry Samoans,
John Cale,
Monolake,
the Soft Cell,
Robert Wyatt,
Joe Smooth,
PIL,
Bizarre Inc.,
Unrelated Segments,
Justin Hinds & The Dominoes,
Ronan,
Make Up,
Bootsy's Rubber Band,
Hashim,
Wire,
Sun Ra Arkestra,
Jesper Dahlbäck,
The Index,
Slave, Slave, Slave, Slave.
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.