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 Argentina and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Johannesburg.
I'm losing my edge to the art-school Glasgow 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 mellotron 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 The Monochrome Set to the jazz kids.
I played it at the Troubador.
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 Eden Ahbez. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Essential Logic 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 an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Joensuu 1685,
Barclay James Harvest,
Neil Young & Crazy Horse,
The Jesus and Mary Chain,
The Seeds,
AZ,
Avey Tare & Kría Brekkan,
The Golliwogs,
Lower 48,
Todd Terry,
Flash Fearless,
The Cure,
Rotary Connection,
Yellowson,
Altered Images,
Darondo,
Crash Course in Science,
LL Cool J,
Crispian St. Peters,
Ultramagnetic MC's,
Von Mondo,
the Sonics,
Bobby Sherman,
Black Flag,
Public Enemy,
Aloha Tigers,
Motorama,
The Star Department,
Subhumans,
Super Lover Cee & Casanova Rud,
Icehouse,
The Moleskins,
Radio Birdman,
The Move,
Nik Kershaw,
Marshall Jefferson,
Swell Maps,
Sarah Menescal,
Ash Ra Tempel,
Bobby Hutcherson,
Siglo XX,
Davy DMX,
Babytalk,
The Raincoats,
Curtis Mayfield,
Pere Ubu,
Radiohead,
Cybotron,
The Fall,
Tropical Tobacco,
Eve St. Jones,
Charles Mingus,
Rites of Spring,
B.T. Express,
Henry Cow,
Scan 7,
Notorious BIG live in Amsterdam,
Make Up,
Bobby Womack,
Graham Central Station,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.