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 Taiwan and from Johannesburg.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1962 to 1976.
I'm losing my edge.
To all the kids in Lagos and Taipei.
I'm losing my edge to the art-school Lyon 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 808 sounds with much patience.
I was there when Lou Reed 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 Visage to the grunge 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 Das Ding. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every The Litter record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Erykah Badu,
Selector Dub Narcotic,
Interpol,
The Victims,
Kings Of Tomorrow,
The Detroit Cobras,
Smog,
Wire,
Joe Finger,
Todd Terry,
Bush Tetras,
Parry Music,
Basic Channel,
Grandmaster Flash,
Thinking Fellers Union Local 282,
Los Fastidios,
Agent Orange,
ABBA,
Ultra Naté,
Pussy Galore,
Rekid,
Mandrill,
MDC,
Fad Gadget,
Judy Mowatt,
The Dead C,
Josef K,
Motorama,
Kenny Larkin,
Heavy D & The Boyz,
Soft Machine,
Scott Walker,
Leonard Cohen,
Girls At Our Best!,
The Grass Roots,
Alice Coltrane,
Roy Ayers Ubiquity,
Nas,
Glenn Branca,
Joy Division,
Swell Maps,
Cameo,
Joyce Sims,
Cabaret Voltaire,
Byron Stingily,
Quando Quango,
The Royal Family And The Poor,
Underground Resistance,
Bill Near,
Jawbox,
The Fire Engines,
Talk Talk,
Funkadelic,
Absolute Body Control,
X-101,
Manfred Mann's Earth Band,
Metal Thangz,
Skaos,
Kool G Rap & DJ Polo,
Echospace,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.