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 Guyana and from Paris.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school Cairo 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 marimba 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 Marshall Jefferson to the crunk 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 Oblivians. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Mandrill 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Green,
the Sonics,
The Dirtbombs,
Loose Ends,
Rotary Connection,
The Evens,
Camouflage,
Robert Hood,
The Victims,
Bronski Beat,
Public Image Ltd.,
The Jesus and Mary Chain,
Yellowson,
Babytalk,
Sly & The Family Stone,
Model 500,
The Fugs,
Darondo,
Dr. Dre and Snoop Doggy Dog,
Suburban Knight,
Lucky Dragons,
The Chocolate Watch Band,
Faust,
Pharoah Sanders,
Harpers Bizarre,
Vainqueur,
Cecil Taylor,
Main Source,
Spoonie Gee,
Curtis Mayfield,
Manfred Mann's Earth Band,
Underground Resistance,
Lindisfarne,
Dawn Penn,
Scott Walker,
Charles Mingus,
The Seeds,
Swans,
the Association,
Fatback Band,
Bootsy Collins,
Danielle Patucci,
Mars,
Heavy D & The Boyz,
Lalann,
Black Pus,
Livin' Joy,
The Buckinghams,
Icehouse,
Neu!,
Adolescents,
Bluetip,
Deepchord,
Gang Starr,
Ken Boothe,
Jeff Lynne,
Organ,
Can,
Tropical Tobacco,
The Offenders,
Hardrive,
Second Layer, Second Layer, Second Layer, Second Layer.
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.