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 Croatia and from Delhi.
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 Copenhagen and Salvador.
I'm losing my edge to the art-school Madrid 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 The Tremeloes to the rap kids.
I played it at the Troubador.
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 The Busters. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Don Cherry 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Jawbox,
Simply Red,
10cc,
Ken Boothe,
James Chance & The Contortions,
Ornette Coleman,
Marcia Griffiths,
Organ,
Susan Cadogan,
Röyhkä ja Rättö ja Lehtisalo,
Arthur Verocai,
Cameo,
Joe Smooth,
Donald Byrd,
Frankie Knuckles,
Terry Callier,
Negative Approach,
Monolake,
Colin Newman,
Rahsaan Roland Kirk,
Saccharine Trust,
Sound Behaviour,
The Human League,
Black Pus,
Black Bananas,
Deadbeat,
Jesper Dahlback,
Oneida,
Jeru the Damaja,
The Misunderstood,
Monks,
London Community Gospel Choir,
Pole,
Idris Muhammad,
Pantytec,
Trumans Water,
Hoover,
Marine Girls,
Country Joe & The Fish,
Glambeats Corp.,
Oppenheimer Analysis,
Brick,
Bad Manners,
ABBA,
The Gladiators,
Scientists,
Danielle Patucci,
Ludus,
Adolescents,
Manfred Mann's Earth Band,
Nik Kershaw,
Letta Mbulu,
Second Layer,
Girls At Our Best!,
Malaria!,
Echospace,
K-Klass,
Depeche Mode,
The Velvet Underground,
Black Moon,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.