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 Bangladesh and from Manchester.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1979.
I'm losing my edge.
To all the kids in Lagos and Seoul.
I'm losing my edge to the art-school Tehran 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 snare sounds with much patience.
I was there when Holger Czukay 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 Public Image Ltd. to the disco kids.
I played it at the Roxy.
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 Aaron Thompson. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Cameo 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 an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mighty Diamonds,
Sugar Minott,
Gil Scott-Heron & Brian Jackson,
Siglo XX,
Josef K,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Notorious BIG live in Amsterdam,
DJ Style,
Bobby Sherman,
Amon Düül,
Darondo,
Deadbeat,
Dual Sessions,
Roy Ayers,
Toni Rubio,
Marc Romboy vs. Booka Shade,
Tubeway Army,
The Monochrome Set,
The Flesh Eaters,
Quando Quango,
Richard Hell and the Voidoids,
Ornette Coleman,
Vladislav Delay,
Model 500,
Angry Samoans,
Saccharine Trust,
Ronnie Foster,
Archie Shepp,
Camberwell Now,
Black Pus,
Crime,
Bobby Womack,
Inner City,
Magma,
Connie Case,
Scott Walker,
Shuggie Otis,
Max Romeo,
R.M.O.,
Loose Ends,
Black Flag,
Roy Ayers Ubiquity,
Colin Newman,
Ossler,
The Evens,
Eric B and Rakim,
the Association,
Audionom,
The Techniques,
The Birthday Party,
The Invisible,
Funky Four + One,
Skarface,
Rotary Connection,
the Soft Cell,
Marmalade,
cv313,
Oblivians,
FM Einheit,
The Cowsills,
Liliput,
Howard Jones,
The Victims, The Victims, The Victims, The Victims.
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.