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 Andorra and from Madrid.
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 1961 to 1977.
I'm losing my edge.
To all the kids in London and Lyon.
I'm losing my edge to the art-school Milan 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 Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 Traffic Nightmare to the funk kids.
I played it at Cafe Wha.
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 Japan. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Suburban Knight record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Gong,
Anakelly,
Public Image Ltd.,
Delta 5,
Reagan Youth,
the Bar-Kays,
The Zeros,
Niagra,
Magazine,
Lindisfarne,
Soulsonic Force,
The Offenders,
Sad Lovers and Giants,
EPMD,
The Gladiators,
X-102,
Pussy Galore,
Flipper,
Fad Gadget,
Rosa Yemen,
Arab on Radar,
Darondo,
Morten Harket,
Q and Not U,
Ultravox,
Oneida,
Flamin' Groovies,
The Royal Family And The Poor,
London Community Gospel Choir,
Shuggie Otis,
Fugazi,
Colin Newman,
DJ Style,
Rekid,
The Happenings,
Wire,
Bobbi Humphrey,
Tomorrow,
Man Parrish,
Michelle Simonal,
The Fuzztones,
The Fall,
KRS-One,
Todd Rundgren,
Matthew Bourne,
Liaisons Dangereuses,
X-Ray Spex,
Tommy Roe,
Sugar Minott,
Porter Ricks,
Moss Icon,
Robert Görl,
Stiv Bators,
Pagans,
Girls At Our Best!,
Jesper Dahlbäck,
Terry Callier,
Jesper Dahlback,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.