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 Dominican Republic and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1975.
I'm losing my edge.
To all the kids in Salvador and London.
I'm losing my edge to the art-school Bremen 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 clarinet 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 Zero Boys to the crunk 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 JFA. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal jazz 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 rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Tubeway Army,
Maurizio,
MDC,
Avey Tare's Slasher Flicks,
the Human League,
Bobby Hutcherson,
Main Source,
Television,
Accadde A,
The Vogues,
Pussy Galore,
Gang Starr,
Royal Trux,
Joe Smooth,
H. Thieme,
Tears for Fears,
The Angels of Light,
D'Angelo,
Ralphi Rosario,
Thompson Twins,
Interpol,
Swell Maps,
Yaz,
Young Marble Giants,
X-101,
Tim Buckley,
a-ha,
Circle Jerks,
DJ Sneak,
Section 25,
Juan Atkins,
Moss Icon,
Gang Gang Dance,
Cheater Slicks,
Eric Copeland,
Bootsy Collins,
The Blackbyrds,
Terrestrial Tones,
Bill Wells,
Kool G Rap & DJ Polo,
Urselle,
The Toasters,
Idris Muhammad,
Pharaoh Sanders and the Fire Engines,
Scan 7,
The Evens,
Man Parrish,
Lyres,
Barry Ungar,
Sexual Harrassment,
The Associates,
The Modern Lovers,
Albert Ayler,
Leonard Cohen,
Pole,
Sun Ra Arkestra,
Davy DMX,
The Last Poets,
Skaos,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.