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 Latvia and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Spokane.
I'm losing my edge to the art-school Accra 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 oboe sounds with much patience.
I was there when Captain Beefheart 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 Joyce Sims to the rock kids.
I played it at the Troubador.
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 Pet Shop Boys. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Nik Kershaw,
Oppenheimer Analysis,
B.T. Express,
Eric Dolphy,
Ultravox,
Suburban Knight,
Howard Jones,
Kevin Saunderson,
Steve Hackett,
Connie Case,
Frankie Knuckles,
Ronnie Foster,
Bobby Sherman,
The Grass Roots,
New York Dolls,
Sun Ra,
Minnie Riperton,
Swans,
Mars,
Public Image Ltd.,
China Crisis,
Justin Hinds & The Dominoes,
Derrick Morgan,
Scratch Acid,
Heavy D & The Boyz,
Half Japanese,
Subhumans,
Eric Copeland,
Graham Central Station,
The Divine Comedy,
Aural Exciters,
The Monks,
Glambeats Corp.,
Orchestral Manoeuvres in the Dark,
Smog,
Shoche,
Jeff Lynne,
Jeff Mills,
Fad Gadget,
Tom Boy,
The Barracudas,
Amon Düül,
Erykah Badu,
Camouflage,
Sound Behaviour,
Echo & the Bunnymen,
F. McDonald,
Liliput,
Interpol,
Rufus Thomas,
Brass Construction,
Funky Four + One,
Negative Approach,
Josef K,
Jacob Miller,
Massinfluence,
Mary Jane Girls,
Flipper,
Eurythmics,
Cymande,
The Selecter, The Selecter, The Selecter, The Selecter.
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.