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 Egypt and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Manchester 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 arpeggiator 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 Man Eating Sloth to the rock kids.
I played it at the Spitz.
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 Mars. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every David Bowie record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
CMW,
Godley & Creme,
X-Ray Spex,
Pantytec,
Roy Ayers Ubiquity,
Joensuu 1685,
Michelle Simonal,
Television,
Brass Construction,
Soulsonic Force,
La Düsseldorf,
Jesper Dahlbäck,
Ornette Coleman,
The Skatalites,
New Age Steppers,
The Music Machine,
Mo-Dettes,
The Trojans,
Parry Music,
Rosa Yemen,
Jacques Brel,
Fela Kuti,
Neil Young & Crazy Horse,
Lalo Schifrin,
Be Bop Deluxe,
Blossom Toes,
Mars,
The Men They Couldn't Hang,
Ituana,
Rhythm & Sound,
Ultra Naté,
Tommy Roe,
Japan,
Morten Harket,
Zero Boys,
Dark Day,
Sam Rivers,
Patti Smith,
Gerry Rafferty,
Intrusion,
Black Sheep,
Scientists,
Sight & Sound,
Ice-T,
Slick Rick,
PIL,
Kerrie Biddell,
Cymande,
The Slits,
The Pop Group,
Y Pants,
Wasted Youth,
David McCallum,
Technova,
T.S.O.L.,
Rahsaan Roland Kirk,
The Shadows of Knight,
Quantec,
LL Cool J,
Camberwell Now,
Moss Icon,
Gang of Four,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.