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 Bangladesh and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1978.
I'm losing my edge.
To all the kids in Taipei and Shanghai.
I'm losing my edge to the art-school Copenhagen 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 synthesizer 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 David Bowie to the punk 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 Jeru the Damaja. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every Yaz 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 '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken 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?
Ultimate Spinach,
Ossler,
Mantronix,
Cabaret Voltaire,
Underground Resistance,
Archie Shepp,
The Happenings,
Teenage Jesus and the Jerks,
Bobby Sherman,
Thompson Twins,
Au Pairs,
Patti Smith,
The Cure,
The Moleskins,
Vaughan Mason & Crew,
Mary Jane Girls,
This Heat,
Sällskapet,
Notorious Big And Bone Thugs,
Don Cherry,
Anthony Braxton,
The Mummies,
Easy Going,
New Order,
Trumans Water,
Ken Boothe,
David Bowie,
Kerrie Biddell,
The Golliwogs,
Henry Cow,
Ronnie Foster,
The Wake,
DNA,
Rotary Connection,
Flash Fearless,
The Fuzztones,
Essential Logic,
Schoolly D,
The Black Dice,
Frankie Knuckles,
Drive Like Jehu,
Kerri Chandler,
Sarah Menescal,
The Doobie Brothers,
Black Moon,
Whodini,
Jesper Dahlbäck,
Sonic Youth,
Faust,
Barclay James Harvest,
Reagan Youth,
The United States of America,
Isaac Hayes,
Cal Tjader,
Grauzone,
Wolf Eyes,
Donny Hathaway,
K-Klass,
John Cale,
Matthew Bourne,
Kayak,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.