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 Nauru and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Halifax and Portland.
I'm losing my edge to the art-school Portland 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 spring reverb 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 Walker Brothers to the dance kids.
I played it at the 40 Watt.
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 Roger Hodgson. All the underground hits.
All Rahsaan Roland Kirk tracks. I heard you have a vinyl of every Scott Walker 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Nik Kershaw record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Television Personalities,
Grauzone,
Make Up,
Livin' Joy,
The New Christs,
Desert Stars,
ABBA,
Slick Rick,
Steve Hackett,
The Cramps,
The Moody Blues,
Rites of Spring,
The Detroit Cobras,
Ornette Coleman,
T. Rex,
Andrew Hill,
Art Ensemble Of Chicago,
John Lydon,
Porter Ricks,
Youth Brigade,
Vainqueur,
Big Daddy Kane,
Nirvana,
Gang Starr,
Pete Rock & C.L. Smooth,
Wolf Eyes,
The Monochrome Set,
Don Cherry,
Kings Of Tomorrow,
Camron Feat. Memphis Bleek And Beenie Seigel,
DJ Style,
Gabor Szabo,
Soul II Soul,
Simply Red,
8 Eyed Spy,
Todd Rundgren,
Kango’s Stein Massive,
Quando Quango,
Marshall Jefferson,
Pussy Galore,
Rotary Connection,
the Bar-Kays,
Agitation Free,
Deadbeat,
Rapeman,
Harmonia,
Roxy Music,
Nas,
Sunsets and Hearts,
Ultimate Spinach,
Lou Reed & Metallica,
Frankie Knuckles,
Joyce Sims,
Röyhkä ja Rättö ja Lehtisalo,
The Mummies,
The Litter,
Masters at Work,
Y Pants,
Circle Jerks,
Rekid,
X-101,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental 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.