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 Luxembourg and from Lille.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Manchester.
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 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 Nick Cave & The Bad Seeds to the techno kids.
I played it at the Roxy.
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 Stooges. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Jandek record on German import.
I heard that you have a white label of every seminal jazz 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare 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 Gories,
June Days,
The Residents,
Deepchord,
Harmonia,
Qualms,
Quando Quango,
New Age Steppers,
Scion,
Zapp,
cv313,
the Fania All-Stars,
London Community Gospel Choir,
Parry Music,
Bobbi Humphrey,
Ultravox,
The Names,
Ronnie Foster,
the Soft Cell,
Roy Ayers Ubiquity,
FM Einheit,
Selector Dub Narcotic,
Delon & Dalcan,
Sandy B,
Lalo Schifrin,
The Velvet Underground,
Minnie Riperton,
the Swans,
Skaos,
China Crisis,
The Doors,
Negative Approach,
Lebanon Hanover,
The Detroit Cobras,
Tomorrow,
Royal Trux,
Scott Walker + Sunn O))),
Robert Wyatt,
Rhythm & Sound,
The Dead C,
Terrestrial Tones,
Thee Headcoats,
The Modern Lovers,
Frankie Knuckles,
Tres Demented,
Neil Young & Crazy Horse,
It's A Beautiful Day,
OOIOO,
Flamin' Groovies,
The Knickerbockers,
Susan Cadogan,
Television Personalities,
Little Man,
Dave Gahan,
Faraquet,
Swans,
Hoover,
Ludus,
Alison Limerick,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Monochrome Set,
Siouxsie and the Banshees,
Black Pus, Black Pus, Black Pus, Black Pus.
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.