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 Congo and from Mexico City.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Tokyo.
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 snare 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 Japan to the grime kids.
I played it at Trash.
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 Peter Gordon & Love of Life Orchestra. All the underground hits.
All CMW tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Men They Couldn't Hang record.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June of 44,
Bauhaus,
The Kinks,
Deakin,
Massinfluence,
Gang Gang Dance,
Lou Reed,
Avey Tare,
Rowland S Howard / Lydia Lunch,
Zero Boys,
Todd Rundgren,
Gian Franco Pienzio,
A Certain Ratio,
The United States of America,
Desert Stars,
Liaisons Dangereuses,
Charles Mingus,
Simply Red,
Nik Kershaw,
The Angels of Light,
MC5,
The Dead C,
Icehouse,
Connie Case,
Scott Walker,
Mantronix,
Bobby Hutcherson,
Bob Dylan,
OOIOO,
Quantec,
Model 500,
Boogie Down Productions,
The Gap Band,
Peter Gordon & Love of Life Orchestra,
Qualms,
Niagra,
Sonny Sharrock,
KRS-One,
Avey Tare's Slasher Flicks,
Mad Mike,
Jerry's Kids,
Bobby Sherman,
Deutsch Amerikanische Freundschaft,
Josef K,
Marmalade,
Fad Gadget,
Godley & Creme,
UT,
Soulsonic Force,
Deadbeat,
Joy Division,
The Sonics,
Siglo XX,
Roxette,
Gichy Dan,
Mary Jane Girls,
Ajijia Myrayebe,
R.M.O.,
Girls At Our Best!,
PIL,
Tubeway Army,
AZ,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.