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 Armenia and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Madrid and Stockholm.
I'm losing my edge to the art-school Hong Kong 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 Q65 to the punk 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 Roy Ayers Ubiquity. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Babytalk 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 '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Monks,
Ponytail,
Cheater Slicks,
Cymande,
Aural Exciters,
Marcia Griffiths,
The Gun Club,
Scratch Acid,
Roxette,
Michelle Simonal,
Kauko Röyhkä ja Narttu,
Pharoah Sanders,
The Neon Judgement,
Scott Walker,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Half Japanese,
LL Cool J,
Interpol,
World's Most,
Deadbeat,
Crispy Ambulance,
London Community Gospel Choir,
Buzzcocks,
Jesper Dahlback,
Strawberry Alarm Clock,
The Flesh Eaters,
The Detroit Cobras,
Fela Kuti,
Alice Coltrane,
The Cramps,
The Buckinghams,
Ultravox,
Peter and Kerry,
Vainqueur,
China Crisis,
Warren Ellis,
La Düsseldorf,
Severed Heads,
Dead Boys,
Quando Quango,
Joe Finger,
Hardrive,
Robert Görl,
The Gap Band,
Agent Orange,
Gabor Szabo,
DJ Sneak,
Crash Course in Science,
Tomorrow,
Rites of Spring,
Neu!,
The Moleskins,
Spoonie Gee,
Von Mondo,
The Cowsills,
Blancmange,
Throbbing Gristle,
Notorious Big And Bone Thugs,
Sexual Harrassment,
Amon Düül,
Chrome,
Silicon Teens,
Urselle, Urselle, Urselle, Urselle.
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.