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 Liechtenstein and from Seoul.
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 1977.
I'm losing my edge.
To all the kids in New York and Salvador.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the 808 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 The Human League to the disco kids.
I played it at Cafe Wha.
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 Country Teasers. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Nils Olav 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your guitar and bought a snare.
I hear that you and your band have sold your snare and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Iggy Pop,
Easy Going,
Drexciya,
Robert Hood,
Bluetip,
Gabor Szabo,
Terrestrial Tones,
The Shadows of Knight,
Funky Four + One,
EPMD,
Lyres,
Fatback Band,
Neu!,
Kool G Rap & DJ Polo,
Cybotron,
Alison Limerick,
Andrew Ashong & Theo Parrish,
Quantec,
Pole,
Kool Moe Dee,
Selector Dub Narcotic,
Graham Central Station,
The Star Department,
John Holt,
Monolake,
Swell Maps,
Schoolly D,
Yazoo,
Das Ding,
Connie Case,
The Dead C,
Talk Talk,
Audionom,
Moby Grape,
London Community Gospel Choir,
Slave,
Glenn Branca,
Lakeside,
Fad Gadget,
Cluster,
Warsaw,
Kayak,
Motorama,
Mantronix,
The Count Five,
Marmalade,
Echospace,
Lebanon Hanover,
The United States of America,
Country Teasers,
Country Joe & The Fish,
Cymande,
Soft Cell,
Morten Harket,
Sexual Harrassment,
Theoretical Girls,
Big Daddy Kane,
Röyhkä ja Rättö ja Lehtisalo,
New York Dolls,
Eric Copeland,
Lungfish,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.