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 Cameroon and from Portland.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Milan and Hong Kong.
I'm losing my edge to the art-school Seoul 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 marimba 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 The Peanut Butter Conspiracy to the funk 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 Ossler. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every Minny Pops record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Trojans record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Desert Stars,
Faraquet,
The Moleskins,
Thompson Twins,
cv313,
Marmalade,
Ultra Naté,
Interpol,
Bobby Hutcherson,
Pierre Henry,
Eurythmics,
Glambeats Corp.,
Minny Pops,
Siouxsie and the Banshees,
Crime,
Avey Tare,
June Days,
Wasted Youth,
Dave Gahan,
Quantec,
Jesper Dahlbäck,
The Last Poets,
Mr. Review,
The Golliwogs,
Bad Manners,
John Coltrane,
Max Romeo,
Black Pus,
Soulsonic Force,
DNA,
Harmonia,
Little Man,
Godley & Creme,
Gil Scott Heron,
The Victims,
Flamin' Groovies,
Al Stewart,
Marc Almond,
June of 44,
Los Fastidios,
The Stooges,
Sex Pistols,
LL Cool J,
Piero Umiliani,
Toni Rubio,
Oblivians,
Stetsasonic,
Angry Samoans,
Ornette Coleman,
The Cosmic Jokers,
Echospace,
Pharaoh Sanders and the Fire Engines,
These Immortal Souls,
CMW,
Negative Approach,
Stiv Bators,
Banda Bassotti,
AZ,
Gang Green,
John Lydon,
Pere Ubu,
Lightning Bolt,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.