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 Nicaragua and from Accra.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1975.
I'm losing my edge.
To all the kids in Edmonton and Delhi.
I'm losing my edge to the art-school Woodstock 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Kayak to the electroclash kids.
I played it at the Astoria.
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 Busters. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every The Divine Comedy 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya 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?
Mo-Dettes,
Jacques Brel,
The Alarm Clocks,
Soul II Soul,
Ultra Naté,
Rod Modell,
Sonic Youth,
the Bar-Kays,
Guru Guru,
Deakin,
Panda Bear,
Sonny Sharrock,
Sällskapet,
Avey Tare,
Jeru the Damaja,
Skriet,
Amon Düül II,
Man Eating Sloth,
Wally Richardson,
Flash Fearless,
The Sonics,
Frankie Knuckles,
A Flock of Seagulls,
Patti Smith,
Surgeon,
Letta Mbulu,
Chris & Cosey,
Blossom Toes,
Tim Buckley,
Brick,
The Mojo Men,
Rufus Thomas,
Fear,
Brothers Johnson,
Sunsets and Hearts,
Mantronix,
Super Lover Cee & Casanova Rud,
Stereo Dub,
Crooked Eye,
Dark Day,
Rhythm & Sound,
Ice-T,
Moby Grape,
The Names,
Johnny Osbourne,
The Associates,
Das Ding,
Icehouse,
Bootsy Collins,
Gong,
The Last Poets,
Lakeside,
Heavy D & The Boyz,
The Searchers,
Eric Dolphy,
Cal Tjader,
Agitation Free,
The Moleskins,
Orchestral Manoeuvres in the Dark,
The Sisters of Mercy,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.