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 Togo and from Tokyo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Portland and Accra.
I'm losing my edge to the art-school Johannesburg 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 Aloha Tigers to the dance 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 Eurythmics. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Maurizio record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
The Gap Band,
Deakin,
The Leaves,
Red Lorry Yellow Lorry,
Public Image Ltd.,
Bobby Hutcherson,
Graham Central Station,
Sex Pistols,
Pagans,
Banda Bassotti,
The Beau Brummels,
Shoche,
Vainqueur,
The Offenders,
Kenny Larkin,
Curtis Mayfield,
Metal Thangz,
Cheater Slicks,
Marcia Griffiths,
John Lydon,
Scion,
DeepChord presents Echospace,
Crispy Ambulance,
The Busters,
Second Layer,
Reuben Wilson,
Interpol,
Bronski Beat,
Audionom,
Technova,
Judy Mowatt,
Sonny Sharrock,
Gong,
The Saints,
Gil Scott-Heron & Brian Jackson,
Country Teasers,
Parry Music,
The Dirtbombs,
Ice-T,
Rhythm & Sound,
Alice Coltrane,
Pharaoh Sanders and the Fire Engines,
Organ,
Monks,
Jeru the Damaja,
The American Breed,
Robert Hood,
Ituana,
Idris Muhammad,
Royal Trux,
the Human League,
Johnny Osbourne,
Josef K,
8 Eyed Spy,
Crispian St. Peters,
Soul II Soul,
Sixth Finger,
The Techniques,
Bob Dylan,
Dave Gahan,
Pete Rock & C.L. Smooth,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.