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 Kenya and from Mexico City.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Bologna and Lagos.
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 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 Michelle Simonal to the funk kids.
I played it at the Troubador.
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 Bizarre Inc.. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic record on German import.
I heard that you have a white label of every seminal techno 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 guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
X-101,
Cheater Slicks,
Johnny Clarke,
Eve St. Jones,
The Star Department,
Pagans,
The Mojo Men,
Justin Hinds & The Dominoes,
The Index,
Juan Atkins,
Kurtis Blow,
Byron Stingily,
The Names,
Aural Exciters,
Essential Logic,
Pharaoh Sanders and the Fire Engines,
Procol Harum,
Sun City Girls,
Beasts of Bourbon,
the Sonics,
Young Marble Giants,
EPMD,
Heavy D & The Boyz,
Anthony Braxton,
The Barracudas,
Minnie Riperton,
Kevin Saunderson,
Blancmange,
Brothers Johnson,
CMW,
Lizzy Mercier Descloux,
Little Man,
The Dirtbombs,
The Slackers,
The Walker Brothers,
China Crisis,
Strawberry Alarm Clock,
Amon Düül,
Model 500,
Avey Tare & Kría Brekkan,
Los Fastidios,
Audionom,
Qualms,
The Litter,
Al Stewart,
Derrick Morgan,
Spandau Ballet,
Faraquet,
Joyce Sims,
Delta 5,
Pulsallama,
It's A Beautiful Day,
Vainqueur,
Man Parrish,
Kings Of Tomorrow,
the Swans,
Rekid,
The Move,
Gerry Rafferty,
Radiopuhelimet,
Skriet,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.