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 Rwanda and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1968 to 1972.
I'm losing my edge.
To all the kids in Paris and Tokyo.
I'm losing my edge to the art-school London 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 mellotron 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 Gil Scott-Heron & Brian Jackson to the jazz 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 Cymande. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Panda Bear 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 '90s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare 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 Monochrome Set,
Wire,
Pole,
Sarah Menescal,
Charles Mingus,
Masters at Work,
Livin' Joy,
Scientists,
Liaisons Dangereuses,
Major Organ And The Adding Machine,
Los Fastidios,
China Crisis,
London Community Gospel Choir,
Gastr Del Sol,
Wolf Eyes,
Lebanon Hanover,
The Slits,
Pierre Henry,
Amon Düül,
Beasts of Bourbon,
Gang Gang Dance,
Fear,
Barbara Tucker,
Avey Tare & Kría Brekkan,
The Names,
Lonnie Liston Smith,
Zero Boys,
Visionaries,LMNO, T- Love & Iriscience,
Camberwell Now,
Adolescents,
It's A Beautiful Day,
The Shadows of Knight,
Dennis Brown,
The Gladiators,
Fatback Band,
X-Ray Spex,
Manfred Mann's Earth Band,
Eve St. Jones,
Johnny Osbourne,
Derrick Morgan,
Groovy Waters,
Roger Hodgson,
Neil Young & Crazy Horse,
Youth Brigade,
Sällskapet,
Ten City,
Lucky Dragons,
Selector Dub Narcotic,
The Knickerbockers,
Surgeon,
Notorious Big And Bone Thugs,
The Modern Lovers,
Sparks,
The Sound,
Bobby Sherman,
The Durutti Column,
Jeru the Damaja,
Fluxion,
Blake Baxter,
Audionom,
Brand Nubian,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.