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 Samoa and from Milan.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school Mumbai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Half Japanese to the grime 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 Wings. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every Sad Lovers and Giants 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 '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Bobby Hutcherson,
Kurtis Blow,
Eric Dolphy,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Gap Band,
John Holt,
Eric B and Rakim,
Ornette Coleman,
The Toasters,
Leonard Cohen,
Hashim,
Yaz,
The West Coast Pop Art Experimental Band,
Quadrant,
Mandrill,
Lungfish,
Tim Buckley,
Eric Copeland,
Captain Beefheart & His Magic Band,
Kevin Saunderson,
New Order,
Soulsonic Force,
Bobbi Humphrey,
Joe Finger,
Siglo XX,
Sun Ra Arkestra,
Marmalade,
Andrew Hill,
The Happenings,
Robert Görl,
Faust,
David Axelrod,
The Fortunes,
The Alarm Clocks,
Heavy D & The Boyz,
Colin Newman,
Cybotron,
Mo-Dettes,
The Motions,
The Cramps,
Roxy Music,
Warsaw,
B.T. Express,
Gong,
Black Bananas,
Radio Birdman,
DNA,
The Residents,
Surgeon,
Lou Reed,
KRS-One,
Jesper Dahlback,
Anakelly,
The Human League,
Teenage Jesus and the Jerks,
Young Marble Giants,
Public Enemy,
Tropical Tobacco,
Charles Mingus,
E-Dancer,
Simply Red,
Crispy Ambulance,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.