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 Macedonia and from Paris.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Hong Kong.
I'm losing my edge to the art-school Jakarta 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Slave to the rap kids.
I played it at the Roxy.
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 Arthur Verocai. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal disco 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
Shoche,
Bang On A Can,
Wally Richardson,
De La Soul & Jungle Brothers,
The Fuzztones,
The Music Machine,
Agitation Free,
Negative Approach,
Mad Mike,
Ludus,
The Cosmic Jokers,
Buzzcocks,
Banda Bassotti,
Avey Tare & Kría Brekkan,
Avey Tare,
Can,
Young Marble Giants,
La Düsseldorf,
Amon Düül II,
Outsiders,
Livin' Joy,
Chris & Cosey,
Simply Red,
Sonny Sharrock,
John Coltrane,
Fela Kuti,
Teenage Jesus and the Jerks,
A Certain Ratio,
Leonard Cohen,
Notorious Big And Bone Thugs,
Subhumans,
Scientists,
David Axelrod,
Derrick Morgan,
Zero Boys,
Bauhaus,
Liaisons Dangereuses,
The J.B.'s,
48th St. Collective,
The Jesus and Mary Chain,
Monks,
Harpers Bizarre,
Q and Not U,
The Searchers,
The Smoke,
The Invisible,
June of 44,
Ice-T,
Altered Images,
Tubeway Army,
Slave,
Agent Orange,
Davy DMX,
Hoover,
10cc,
The Cure,
Darondo,
Dawn Penn,
Rapeman,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.