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 Dominica and from Jakarta.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Lyon and London.
I'm losing my edge to the art-school Salvador 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 spring reverb 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 Beasts of Bourbon to the electroclash 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 Bar-Kays. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every Ohio Players record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Jerry Gold Smith,
The Count Five,
New York Dolls,
Camberwell Now,
Technova,
Bronski Beat,
Andrew Hill,
Harpers Bizarre,
Mad Mike,
Monks,
Henry Cow,
Gregory Isaacs,
Kas Product,
Monolake,
Amon Düül,
Cal Tjader,
Excepter,
the Human League,
Maleditus Sound,
Kings Of Tomorrow,
Peter Gordon & Love of Life Orchestra,
Jeff Mills,
The Beau Brummels,
Ludus,
Rhythm & Sound,
Funky Four + One,
The Dead C,
Motorama,
Lungfish,
Hoover,
The Smoke,
Deadbeat,
Banda Bassotti,
Lebanon Hanover,
Thinking Fellers Union Local 282,
Wire,
Dennis Brown,
Kayak,
Mantronix,
New Order,
Rosa Yemen,
The Smiths,
Japan,
Crispy Ambulance,
Sonny Sharrock,
Bobbi Humphrey,
Colin Newman,
Siglo XX,
Pulsallama,
Schoolly D,
Lakeside,
Oblivians,
Red Lorry Yellow Lorry,
DJ Style,
Unwound,
Sex Pistols,
De La Soul & Jungle Brothers,
Teenage Jesus and the Jerks,
Swans,
Anakelly,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.