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 Argentina and from Toronto.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1971.
I'm losing my edge.
To all the kids in Spokane and Glasgow.
I'm losing my edge to the art-school Accra 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 harpsichord 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 The Divine Comedy to the grime 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 Brand Nubian. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Fall record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quando Quango,
Bauhaus,
The Golliwogs,
kango's stein massive,
Man Eating Sloth,
Joensuu 1685,
Main Source,
Easy Going,
Rites of Spring,
Adolescents,
Ralphi Rosario,
The Litter,
Second Layer,
The Five Americans,
The Dave Clark Five,
Sonny Sharrock,
Swans,
Rotary Connection,
London Community Gospel Choir,
Country Joe & The Fish,
Trumans Water,
Bootsy Collins,
The Doors,
FM Einheit,
Skaos,
Big Daddy Kane,
Niagra,
Kool G Rap & DJ Polo,
Jesper Dahlbäck,
Joe Finger,
The Flesh Eaters,
Lyres,
Tom Boy,
Lalo Schifrin,
Neil Young & Crazy Horse,
Tommy Roe,
The Count Five,
8 Eyed Spy,
Chrome,
Rekid,
The Dead C,
The Barracudas,
New Age Steppers,
Colin Newman,
Sugar Minott,
E-Dancer,
Hoover,
Andrew Hill,
L. Decosne,
Loose Ends,
John Holt,
ABBA,
The Gladiators,
Sun Ra,
Eric B and Rakim,
Kas Product,
Technova,
Neu!,
Amazonics,
The Happenings,
The Modern Lovers,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.