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 Turkmenistan and from Glasgow.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Sao Paulo.
I'm losing my edge to the art-school Lagos 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the sitar 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 Shoche to the rap kids.
I played it at Cafe Wha.
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 Tim Buckley. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ludus record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Angels of Light,
Ituana,
Brick,
Sparks,
Minnie Riperton,
Pylon,
Sly & The Family Stone,
Pantaleimon,
Sound Behaviour,
The Trojans,
Susan Cadogan,
Peter and Kerry,
Ten City,
Fear,
Ronan,
The Evens,
Grandmaster Flash and the Furious Five,
Index,
Fluxion,
Stockholm Monsters,
Eve St. Jones,
Zapp,
Whodini,
Siouxsie and the Banshees,
Bootsy Collins,
Nik Kershaw,
Blancmange,
Lakeside,
Pole,
Man Eating Sloth,
Andrew Hill,
Flamin' Groovies,
Josef K,
Vainqueur,
Selector Dub Narcotic,
Quantec,
Clear Light,
Altered Images,
Goldenarms,
Parry Music,
Roy Ayers,
The Durutti Column,
The Index,
Gregory Isaacs,
Brass Construction,
Infiniti,
Gong,
Bill Near,
Boogie Down Productions,
Quando Quango,
Massinfluence,
Hasil Adkins,
Technova,
Liliput,
Bizarre Inc.,
Eli Mardock,
The Monks,
Laurel Aitken,
Electric Prunes,
Make Up,
Peter Gordon & Love of Life Orchestra,
Minor Threat,
Aaron Thompson,
Radiohead, Radiohead, Radiohead, Radiohead.
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.