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 Nicaragua and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Lagos and Edmonton.
I'm losing my edge to the art-school Toronto 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 rhodes sounds with much patience.
I was there when Holger Czukay 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 Soft Cell to the funk kids.
I played it at the Astoria.
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 Japan. All the underground hits.
All Fear tracks. I heard you have a vinyl of every AZ record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe 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 Electric Prunes,
Howard Jones,
Eden Ahbez,
Peter and Kerry,
D'Angelo,
Tears for Fears,
John Cale,
The Smoke,
Stereo Dub,
Swell Maps,
Minnie Riperton,
The Walker Brothers,
Jesper Dahlbäck,
Crime,
H. Thieme,
R.M.O.,
Chrome,
E-Dancer,
Pulsallama,
Notorious BIG live in Amsterdam,
Lungfish,
Patti Smith,
Super Lover Cee & Casanova Rud,
Nas,
The Happenings,
Glambeats Corp.,
Lou Reed & Metallica,
Wolf Eyes,
Rosa Yemen,
the Bar-Kays,
Unrelated Segments,
Metal Thangz,
The Victims,
The Knickerbockers,
Isaac Hayes,
Roy Ayers Ubiquity,
Outsiders,
Von Mondo,
Grandmaster Flash and the Furious Five,
Sly & The Family Stone,
Amon Düül II,
Vainqueur,
Davy DMX,
Carl Craig,
Röyhkä ja Rättö ja Lehtisalo,
The Martian,
La Düsseldorf,
Malaria!,
Leonard Cohen,
Cabaret Voltaire,
Camron Feat. Memphis Bleek And Beenie Seigel,
Derrick Morgan,
Kurtis Blow,
Delon & Dalcan,
Monks,
The Modern Lovers,
Ajijia Myrayebe,
The Litter,
Ronan, Ronan, Ronan, Ronan.
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.