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 Vanuatu and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1966 to 1979.
I'm losing my edge.
To all the kids in London and Copenhagen.
I'm losing my edge to the art-school Tehran 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 marimba 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 Mad Mike to the grunge 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 Peter and Kerry. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Chrome record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Masters at Work,
Dorothy Ashby,
Sugar Minott,
Jerry Gold Smith,
The Move,
Beasts of Bourbon,
John Lydon,
La Düsseldorf,
Unrelated Segments,
Nas,
The Sound,
Crash Course in Science,
Camberwell Now,
The Mojo Men,
Mad Mike,
Bronski Beat,
Grandmaster Flash,
Connie Case,
the Soft Cell,
The Five Americans,
Junior Murvin,
Marvin Gaye,
10cc,
Sound Behaviour,
The Martian,
Cal Tjader,
The Cosmic Jokers,
Tres Demented,
Pantytec,
Red Lorry Yellow Lorry,
Mars,
Guru Guru,
Super Lover Cee & Casanova Rud,
Lightning Bolt,
Deepchord,
Ultramagnetic MC's,
Janne Schatter,
The Searchers,
DNA,
Arcadia,
New Age Steppers,
The Slits,
These Immortal Souls,
X-101,
Aaron Thompson,
The Shadows of Knight,
Marshall Jefferson,
Lungfish,
Jeru the Damaja,
Model 500,
Robert Wyatt,
L. Decosne,
Technova,
FM Einheit,
the Association,
John Holt,
Roy Ayers Ubiquity,
The Blues Magoos,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.