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 Slovenia and from Copenhagen.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Spokane and Edmonton.
I'm losing my edge to the art-school Delhi 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Wally Richardson to the techno kids.
I played it at the Astoria.
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 Minny Pops. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal jazz 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 a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
London Community Gospel Choir,
Tommy Roe,
The Fire Engines,
Ultravox,
Blossom Toes,
Public Image Ltd.,
Lalann,
Kool G Rap & DJ Polo,
Symarip,
Liaisons Dangereuses,
Pete Rock & C.L. Smooth,
Maleditus Sound,
Can,
Duran Duran,
Index,
Althea and Donna,
Nils Olav,
John Lydon,
A Certain Ratio,
Parry Music,
The Young Rascals,
Fluxion,
The Searchers,
Barbara Tucker,
Malaria!,
The Black Dice,
Charles Mingus,
Tomorrow,
Surgeon,
Eurythmics,
Black Bananas,
Moby Grape,
The Fortunes,
Jerry Gold Smith,
Nick Cave & The Bad Seeds,
The Zeros,
Gong,
Ohio Players,
Sunsets and Hearts,
Bobby Byrd,
Oneida,
Lakeside,
Metal Thangz,
Barrington Levy,
Warren Ellis,
Hashim,
Pantaleimon,
Rufus Thomas,
Adolescents,
The Buckinghams,
Monolake,
Eric B and Rakim,
The Royal Family And The Poor,
Simply Red,
Kings Of Tomorrow,
The Fugs,
The Remains,
The Gun Club,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.