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 Ghana and from Portland.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1973.
I'm losing my edge.
To all the kids in Woodstock and Madrid.
I'm losing my edge to the art-school Sao Paulo 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the organ 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 Eric Copeland to the grime kids.
I played it at the Hacienda.
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 Selecter. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every David Axelrod 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul Sonic Force,
Beasts of Bourbon,
Sugar Minott,
Peter and Kerry,
Arthur Verocai,
Traffic Nightmare,
Terrestrial Tones,
Brick,
Peter Gordon & Love of Life Orchestra,
Joyce Sims,
The Modern Lovers,
The Fuzztones,
Khruangbin,
Thinking Fellers Union Local 282,
Pere Ubu,
Dave Gahan,
Graham Central Station,
Franke,
Peter & Gordon,
Bobby Sherman,
Marshall Jefferson,
Fat Boys,
Flamin' Groovies,
David McCallum,
Dawn Penn,
The Pretty Things,
Blossom Toes,
Blake Baxter,
John Coltrane,
Nils Olav,
The Neon Judgement,
Fort Wilson Riot,
One Last Wish,
Joensuu 1685,
Anakelly,
Angry Samoans,
Jimmy McGriff,
Mad Mike,
the Slits,
Grandmaster Flash and the Furious Five,
Outsiders,
Donny Hathaway,
The Associates,
Morten Harket,
the Association,
Suburban Knight,
E-Dancer,
kango's stein massive,
The Saints,
Thompson Twins,
OOIOO,
Ten City,
Major Organ And The Adding Machine,
The J.B.'s,
Negative Approach,
Bush Tetras,
Sällskapet,
Kool G Rap & DJ Polo,
The Fire Engines,
Blancmange,
Orchestral Manoeuvres in the Dark,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.