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 Rwanda and from Lyon.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Toronto and Edmonton.
I'm losing my edge to the art-school Jakarta 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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 United States of America to the rap kids.
I played it at the Hacienda.
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 Quadrant tracks. I heard you have a vinyl of every Bad Manners 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 '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Dawn Penn record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Pole,
La Düsseldorf,
Interpol,
The Modern Lovers,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jeff Lynne,
Yaz,
Black Sheep,
the Sonics,
Gerry Rafferty,
The Gun Club,
Lindisfarne,
Scientists,
The Blues Magoos,
FM Einheit,
Donald Byrd,
Lou Reed & John Cale,
Essential Logic,
Avey Tare's Slasher Flicks,
Cheater Slicks,
The Buckinghams,
Black Bananas,
Soft Machine,
Boogie Down Productions,
Neil Young,
Yusef Lateef,
Inner City,
X-102,
Piero Umiliani,
X-Ray Spex,
Accadde A,
Cabaret Voltaire,
The Doobie Brothers,
Lou Reed,
Curtis Mayfield,
Terry Callier,
Ornette Coleman,
Rufus Thomas,
Little Man,
Arthur Verocai,
Joensuu 1685,
Pharaoh Sanders and the Fire Engines,
Liliput,
Sly & The Family Stone,
Nick Cave & The Bad Seeds,
Television Personalities,
Soft Cell,
The Vogues,
Hasil Adkins,
Sarah Menescal,
The Gladiators,
The Flesh Eaters,
Tomorrow,
Man Parrish,
Harpers Bizarre,
The Cure,
MDC,
the Soft Cell,
Maurizio,
Anthony Braxton,
Jawbox,
Mandrill, Mandrill, Mandrill, Mandrill.
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.