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 Guatemala and from Paris.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Calgary and Manchester.
I'm losing my edge to the art-school Salvador 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 UT to the grunge kids.
I played it at Cafe Wha.
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 Jacob Miller. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every Minutemen record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
The Invisible,
Grey Daturas,
The Doors,
Jesper Dahlback,
Al Stewart,
Isaac Hayes,
The Sound,
Black Flag,
The Remains,
Lucky Dragons,
Funky Four + One,
Roy Ayers Ubiquity,
L. Decosne,
Big Daddy Kane,
Tim Buckley,
Pere Ubu,
Hardrive,
Visage,
Nik Kershaw,
Loose Ends,
Manfred Mann's Earth Band,
Rakim,
D'Angelo,
Warsaw,
Thompson Twins,
Vainqueur,
Scion,
Sound Behaviour,
The Smoke,
Wings,
Animal Collective,
Rotary Connection,
Kurtis Blow,
Fela Kuti,
The Fuzztones,
U.S. Maple,
The Count Five,
LL Cool J,
The Techniques,
Fluxion,
Lakeside,
The Fire Engines,
Hasil Adkins,
In Retrospect,
Eyeless In Gaza,
Bauhaus,
Reuben Wilson,
Throbbing Gristle,
The Happenings,
Technova,
Talk Talk,
Country Teasers,
Soul II Soul,
Harpers Bizarre,
Jeff Lynne,
Pussy Galore,
Fatback Band,
Steve Hackett,
Pagans,
The Gladiators,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.