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 Senegal and from Spokane.
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 1976.
I'm losing my edge.
To all the kids in Mumbai and Houston.
I'm losing my edge to the art-school Johannesburg 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Accadde A to the rock kids.
I played it at the Spitz.
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 Slits. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every Eddi Front record on German import.
I heard that you have a white label of every seminal rock 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 rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Wighnomy Brothers & Robag Wruhme record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
The Slackers,
Ultra Naté,
Byron Stingily,
Niagra,
Tim Buckley,
Kurtis Blow,
A Certain Ratio,
Arthur Verocai,
Scientists,
Camouflage,
Rakim,
The Wake,
Pylon,
the Soft Cell,
Thee Headcoats,
Joensuu 1685,
Moss Icon,
The Red Krayola,
Radiopuhelimet,
the Association,
This Heat,
Jimmy McGriff,
Groovy Waters,
Lizzy Mercier Descloux,
The Searchers,
Gerry Rafferty,
Marc Almond,
John Foxx,
Eden Ahbez,
Minor Threat,
Robert Wyatt,
Godley & Creme,
Sixth Finger,
Sugar Minott,
Deadbeat,
Massinfluence,
Faust,
R.M.O.,
The Skatalites,
Slave,
Deepchord,
Bobbi Humphrey,
The Monks,
The Mojo Men,
Black Pus,
Mantronix,
Jacob Miller,
OOIOO,
Pagans,
Fluxion,
Fatback Band,
Talk Talk,
Magazine,
The Pop Group,
Boogie Down Productions,
Throbbing Gristle,
Gong,
Wings,
Pantytec,
Boz Scaggs,
Lebanon Hanover,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.