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 Mali and from Hong Kong.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Houston and Mumbai.
I'm losing my edge to the art-school Manchester 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Gabor Szabo to the grime 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 Sly & The Family Stone. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every The Names 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a John Foxx record.
I hear that you and your band have sold your guitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
Juan Atkins,
X-102,
The Move,
The Doors,
Vainqueur,
Section 25,
Desert Stars,
Danielle Patucci,
Be Bop Deluxe,
The Skatalites,
Altered Images,
Dual Sessions,
Albert Ayler,
Adolescents,
Babytalk,
X-101,
Bill Near,
Frankie Knuckles,
Anakelly,
Crash Course in Science,
Selector Dub Narcotic,
Faraquet,
Lalo Schifrin,
Kings Of Tomorrow,
Tropical Tobacco,
Audionom,
Scion,
Mark Hollis,
Hashim,
Joey Negro,
Saccharine Trust,
The Tremeloes,
Sex Pistols,
10cc,
Second Layer,
Fifty Foot Hose,
Todd Rundgren,
The Kinks,
Jeff Lynne,
Franke,
Kango’s Stein Massive,
Mo-Dettes,
Roy Ayers Ubiquity,
Moss Icon,
Deutsch Amerikanische Freundschaft,
Leonard Cohen,
The Techniques,
Angels of Light & Akron/Family,
Boredoms,
The Leaves,
Darondo,
Barclay James Harvest,
Lakeside,
James Chance & The Contortions,
Bobby Hutcherson,
Electric Prunes,
Cabaret Voltaire,
Archie Shepp,
Sun City Girls,
Matthew Bourne,
Wighnomy Brothers & Robag Wruhme,
Alphaville,
The Neon Judgement,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.