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 San Marino and from Bologna.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Manchester and Portland.
I'm losing my edge to the art-school Edmonton 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 1976 at the first Wire practice in a loft in Watford.
I was working on the synthesizer 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 In Retrospect to the rock kids.
I played it at the Hacienda.
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 the Association. All the underground hits.
All The Buckinghams tracks. I heard you have a vinyl of every Quadrant 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
The Associates,
the Association,
Al Stewart,
Quantec,
Depeche Mode,
The Slits,
Big Daddy Kane,
Trumans Water,
Gerry Rafferty,
Lower 48,
Unwound,
Rekid,
Siglo XX,
the Fania All-Stars,
Shuggie Otis,
Sister Nancy,
The Jesus and Mary Chain,
Todd Terry,
Interpol,
Soul Sonic Force,
cv313,
ABC,
Robert Görl,
Camron Feat. Memphis Bleek And Beenie Seigel,
This Heat,
Kaleidoscope,
Blake Baxter,
Art Ensemble Of Chicago,
Porter Ricks,
Johnny Osbourne,
Metal Thangz,
Bang On A Can,
The Fuzztones,
Lalann,
Sugar Minott,
Kings Of Tomorrow,
Fifty Foot Hose,
Jacob Miller,
Lindisfarne,
Steve Hackett,
Nils Olav,
Delon & Dalcan,
The Grass Roots,
Nirvana,
Man Parrish,
Throbbing Gristle,
The Moody Blues,
Justin Hinds & The Dominoes,
The Wake,
Duran Duran,
The Gap Band,
The Velvet Underground,
Section 25,
Tommy Roe,
DNA,
the Human League,
Los Fastidios,
Dark Day,
Basic Channel,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.