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 Yemen and from Manchester.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Halifax and New York.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 The Sound to the jazz kids.
I played it at the Spitz.
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 Swans. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every Fugazi record on German import.
I heard that you have a white label of every seminal electroclash 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 sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Intrusion,
Soft Machine,
Sarah Menescal,
Agitation Free,
The Associates,
Girls At Our Best!,
Monks,
The Moody Blues,
Funky Four + One,
Gil Scott Heron,
the Association,
John Coltrane,
Bobby Womack,
Talk Talk,
The Fire Engines,
Jawbox,
Gil Scott-Heron & Brian Jackson,
Byron Stingily,
kango's stein massive,
Magazine,
The Shadows of Knight,
Susan Cadogan,
These Immortal Souls,
Graham Central Station,
The Monochrome Set,
The Chocolate Watch Band,
Youth Brigade,
Ultravox,
Scan 7,
Panda Bear,
Dual Sessions,
Toni Rubio,
Amon Düül,
The Slackers,
Angels of Light & Akron/Family,
Lizzy Mercier Descloux,
FM Einheit,
X-Ray Spex,
Johnny Clarke,
Joe Finger,
Wally Richardson,
Rakim,
Soul Sonic Force,
The Neon Judgement,
Justin Hinds & The Dominoes,
Q and Not U,
Pantytec,
Brass Construction,
The Electric Prunes,
China Crisis,
Bobby Byrd,
Rosa Yemen,
Yazoo,
Stiv Bators,
Trumans Water,
The Human League,
Eric Dolphy,
Lalann,
Nation of Ulysses,
Smog,
It's A Beautiful Day,
The Dave Clark Five,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.