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 Andorra and from New York.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Salvador and Copenhagen.
I'm losing my edge to the art-school Johannesburg 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the sitar 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 Blake Baxter to the rap kids.
I played it at the Spitz.
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 Black Sheep. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Roxette record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
L. Decosne,
Dark Day,
Motorama,
Silicon Teens,
Art Ensemble Of Chicago,
Quantec,
Banda Bassotti,
The Fugs,
The Electric Prunes,
Eli Mardock,
Marc Almond,
Jesper Dahlbäck,
B.T. Express,
Skarface,
The Gap Band,
Tommy Roe,
Arab on Radar,
The Knickerbockers,
Eve St. Jones,
Bootsy Collins,
Hoover,
Morten Harket,
Eric Copeland,
Röyhkä ja Rättö ja Lehtisalo,
In Retrospect,
Scion,
Yaz,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Saccharine Trust,
De La Soul & Jungle Brothers,
Thee Headcoats,
Manfred Mann's Earth Band,
Radio Birdman,
Public Image Ltd.,
Stereo Dub,
Peter Gordon & Love of Life Orchestra,
Delta 5,
Max Romeo,
The Offenders,
Lindisfarne,
Ronnie Foster,
Carl Craig,
The Leaves,
Jerry's Kids,
Altered Images,
The Fuzztones,
Marcia Griffiths,
Gerry Rafferty,
Alphaville,
The Mighty Diamonds,
Panda Bear,
The Moleskins,
Gil Scott-Heron and Jamie xx,
The Martian,
The Black Dice,
James Chance & The Contortions,
Vaughan Mason & Crew,
Bang on a Can All-Stars,
Ituana,
Parry Music,
Deepchord,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.