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 Philippines and from Mumbai.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1978.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
I'm losing my edge to the art-school Calgary 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 marimba 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 U.S. Maple to the grime kids.
I played it at the 40 Watt.
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 Evens. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Bill Near 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
The Divine Comedy,
Shoche,
Echospace,
The Victims,
Subhumans,
Faust,
The Moody Blues,
Ronan,
The Leaves,
Lucky Dragons,
Model 500,
The Neon Judgement,
Gregory Isaacs,
The Residents,
Barclay James Harvest,
Brick,
Underground Resistance,
Derrick May,
Stetsasonic,
Stiv Bators,
Kevin Saunderson,
New York Dolls,
Can,
Wings,
PIL,
The Walker Brothers,
Bob Dylan,
T. Rex,
Freddie Wadling,
Mission of Burma,
The Zeros,
Pere Ubu,
The Monks,
Warren Ellis,
Soul Sonic Force,
Motorama,
Patti Smith,
Röyhkä ja Rättö ja Lehtisalo,
48th St. Collective,
Junior Murvin,
The Moleskins,
Sun Ra,
Babytalk,
The Mummies,
The Music Machine,
Skaos,
Moebius,
Glambeats Corp.,
John Foxx,
Lightning Bolt,
Sight & Sound,
Lou Reed & John Cale,
Tubeway Army,
The Peanut Butter Conspiracy,
The Last Poets,
Alison Limerick,
Thee Headcoats,
Ronnie Foster,
The Motions,
The Dave Clark Five,
Monolake, Monolake, Monolake, Monolake.
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.