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 Cuba and from Tokyo.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Madrid and Columbus.
I'm losing my edge to the art-school Manchester 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the arpeggiator 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 Vaughan Mason & Crew to the jazz 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 Loose Ends. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every The Gladiators record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Make Up,
Camron Feat. Jay Z And Juelz,
Kenny Larkin,
Oblivians,
Cameo,
Pharaoh Sanders and the Fire Engines,
Heavy D & The Boyz,
Sister Nancy,
Tommy Roe,
Theoretical Girls,
These Immortal Souls,
Lungfish,
The Associates,
The Remains,
Angels of Light & Akron/Family,
The Index,
Joyce Sims,
Kevin Saunderson,
Angry Samoans,
Soul II Soul,
Procol Harum,
Pete Rock & C.L. Smooth,
Neil Young & Crazy Horse,
Easy Going,
Spandau Ballet,
The Martian,
La Düsseldorf,
Moebius,
Unrelated Segments,
Mantronix,
Porter Ricks,
Morten Harket,
Don Cherry,
Pantytec,
Drive Like Jehu,
Index,
Lee Hazlewood,
Ornette Coleman,
The Monks,
The Residents,
The Toasters,
Aswad,
Marvin Gaye,
Liliput,
Gichy Dan,
F. McDonald,
Beasts of Bourbon,
Tomorrow,
The Fugs,
The Slits,
David Axelrod,
Lou Christie,
Slave,
Anakelly,
The Young Rascals,
Second Layer,
Joensuu 1685,
Drexciya,
B.T. Express,
Cheater Slicks,
Notorious Big And Bone Thugs,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.