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 Spain and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1964 to 1977.
I'm losing my edge.
To all the kids in Seoul and Hong Kong.
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 snare 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 Inner City to the rock kids.
I played it at the Hacienda.
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 The Moleskins. All the underground hits.
All Moebius tracks. I heard you have a vinyl of every Main Source record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
James Chance & The Contortions,
Skriet,
Ohio Players,
Bluetip,
Masters at Work,
Crispian St. Peters,
Ornette Coleman,
Janne Schatter,
Sex Pistols,
Cabaret Voltaire,
James White and The Blacks,
Bizarre Inc.,
Roxette,
Skarface,
The Motions,
Magma,
Jandek,
Livin' Joy,
The Dirtbombs,
Parry Music,
Freddie Wadling,
Dual Sessions,
Severed Heads,
Gang Gang Dance,
T.S.O.L.,
The Modern Lovers,
Robert Wyatt,
10cc,
Easy Going,
Erasure,
Lungfish,
Rapeman,
Sun City Girls,
Bauhaus,
Little Man,
Joensuu 1685,
Grandmaster Flash and the Furious Five,
The Angels of Light,
Lucky Dragons,
Sonic Youth,
FM Einheit,
Young Marble Giants,
The Mighty Diamonds,
Panda Bear,
Motorama,
Kool Moe Dee,
Reagan Youth,
Roxy Music,
New Order,
Laurel Aitken,
The United States of America,
Simply Red,
Echo & the Bunnymen,
Loose Ends,
D'Angelo,
Malaria!,
Radio Birdman,
Average White Band,
AZ,
Lindisfarne,
Crime,
Eden Ahbez,
Infiniti,
Oblivians, Oblivians, Oblivians, Oblivians.
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.