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 Spain and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1965 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Taipei.
I'm losing my edge to the art-school Accra 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Guru Guru to the dance kids.
I played it at the 40 Watt.
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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Gerry Rafferty record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
KRS-One,
Au Pairs,
Boogie Down Productions,
Qualms,
L. Decosne,
Monks,
DNA,
EPMD,
Gil Scott-Heron and Jamie xx,
the Association,
Wire,
Yazoo,
Michelle Simonal,
Neu!,
The Count Five,
Sixth Finger,
Fad Gadget,
Bobbi Humphrey,
B.T. Express,
Cecil Taylor,
Vaughan Mason & Crew,
Dawn Penn,
Swans,
Ultra Naté,
Camberwell Now,
Sparks,
Skarface,
Cameo,
The Doors,
UT,
The Walker Brothers,
John Cale,
Soul II Soul,
the Soft Cell,
Popol Vuh,
Pulsallama,
Rod Modell,
Bluetip,
The Human League,
Banda Bassotti,
Nils Olav,
Kurtis Blow,
Scrapy,
Avey Tare & Kría Brekkan,
Louis and Bebe Barron,
Harry Pussy,
Vladislav Delay,
Spandau Ballet,
The New Christs,
John Lydon,
Byron Stingily,
Spoonie Gee,
Stereo Dub,
Barry Ungar,
The Litter,
The Searchers,
Dark Day,
Smog,
The Real Kids,
Magazine,
Icehouse, Icehouse, Icehouse, Icehouse.
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.