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 Namibia 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 1960 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Lagos.
I'm losing my edge to the art-school Halifax 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 oboe 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 Neon Judgement to the jazz 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 The West Coast Pop Art Experimental Band. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every The J.B.'s 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
Reagan Youth,
Fear,
Sonic Youth,
DNA,
Lou Christie,
Lonnie Liston Smith,
Bauhaus,
Rufus Thomas,
Susan Cadogan,
Josef K,
Deakin,
Spandau Ballet,
Das Ding,
Scott Walker + Sunn O))),
Tommy Roe,
Alison Limerick,
Zero Boys,
Sound Behaviour,
Chris Corsano,
Pet Shop Boys,
June Days,
Stereo Dub,
Al Stewart,
Wire,
John Holt,
Judy Mowatt,
Jacques Brel,
Scott Walker,
Fatback Band,
Aloha Tigers,
The Cosmic Jokers,
The Gun Club,
PIL,
Metal Thangz,
Robert Görl,
Prince Buster,
Dual Sessions,
The Modern Lovers,
The New Christs,
Skarface,
The Leaves,
Brothers Johnson,
Eddi Front,
Tears for Fears,
the Fania All-Stars,
The Pop Group,
The Electric Prunes,
The Walker Brothers,
Bang on a Can All-Stars,
Teenage Jesus and the Jerks,
The American Breed,
Main Source,
The Golliwogs,
Aswad,
Liliput,
MDC,
The Tremeloes,
The Durutti Column,
Arthur Verocai,
Masters at Work,
Country Joe & The Fish,
The Techniques,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.