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 Belarus and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1976.
I'm losing my edge.
To all the kids in Portland and Mexico City.
I'm losing my edge to the art-school Milan 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 organ 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 Soulsonic Force to the funk 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 cv313. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every Motorama 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
Alison Limerick,
Das Ding,
John Holt,
Don Cherry,
Second Layer,
Magazine,
Dorothy Ashby,
Kurtis Blow,
Unwound,
Mary Jane Girls,
London Community Gospel Choir,
Soft Cell,
Wolf Eyes,
Colin Newman,
Oneida,
Television,
Vainqueur,
Jacques Brel,
Black Sheep,
The Monochrome Set,
E-Dancer,
Nik Kershaw,
Rosa Yemen,
The Electric Prunes,
The Slits,
Fat Boys,
Captain Beefheart & His Magic Band,
Stetsasonic,
Bob Dylan,
Animal Collective,
Porter Ricks,
Pantytec,
La Düsseldorf,
Monks,
Nick Fraelich,
Eric Dolphy,
B.T. Express,
The Selecter,
Massinfluence,
Can,
Kevin Saunderson,
Barrington Levy,
Bizarre Inc.,
Andrew Ashong & Theo Parrish,
Basic Channel,
Quadrant,
Girls At Our Best!,
The Pop Group,
The Peanut Butter Conspiracy,
Youth Brigade,
Thinking Fellers Union Local 282,
Davy DMX,
The Cure,
Swell Maps,
Lalann,
Red Lorry Yellow Lorry,
Simply Red,
Bluetip,
Slick Rick,
the Germs, the Germs, the Germs, the Germs.
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.