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 St Lucia and from Seoul.
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 1979.
I'm losing my edge.
To all the kids in Spokane and Tokyo.
I'm losing my edge to the art-school Philadelphia 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 linndrum 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 Marcia Griffiths to the jazz kids.
I played it at CBGB's.
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 Qualms. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne 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?
Alton Ellis,
The Alarm Clocks,
Intrusion,
Kevin Saunderson,
Sound Behaviour,
Terror Squad Feat. Camron,
Jawbox,
Shuggie Otis,
Spoonie Gee,
Vaughan Mason & Crew,
Cameo,
JFA,
U.S. Maple,
Roxy Music,
Audionom,
A Certain Ratio,
Boz Scaggs,
Lou Reed & John Cale,
The Litter,
Ponytail,
The Names,
Notorious BIG live in Amsterdam,
Minny Pops,
Roy Ayers,
Liaisons Dangereuses,
Gichy Dan,
Boredoms,
Kool Moe Dee,
Anakelly,
The Sisters of Mercy,
Jandek,
Erykah Badu,
Schoolly D,
Jeff Lynne,
Mr. Review,
Peter and Kerry,
Gregory Isaacs,
Popol Vuh,
Gerry Rafferty,
Crispian St. Peters,
Hoover,
the Bar-Kays,
Black Flag,
The Fortunes,
Grey Daturas,
Quadrant,
Avey Tare's Slasher Flicks,
Joensuu 1685,
Slave,
Pet Shop Boys,
Kas Product,
The Count Five,
Porter Ricks,
The Cure,
Tropical Tobacco,
The Smiths,
Avey Tare & Kría Brekkan,
The Stooges,
Major Organ And The Adding Machine,
Marc Romboy vs. Booka Shade,
The Monks,
Bobby Sherman,
The Neon Judgement,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.