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 Paraguay and from Tehran.
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 1972.
I'm losing my edge.
To all the kids in Mexico City and Lille.
I'm losing my edge to the art-school Madrid 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe 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 Arab on Radar to the funk kids.
I played it at the Spitz.
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 Sun Ra. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every The Human League record on German import.
I heard that you have a white label of every seminal electroclash 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 808 and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Supertramp,
Patti Smith,
Captain Beefheart & His Magic Band,
Scan 7,
X-101,
X-Ray Spex,
Selector Dub Narcotic,
Lower 48,
Pantaleimon,
The Alarm Clocks,
The Move,
Jacob Miller,
A Certain Ratio,
New Age Steppers,
Public Image Ltd.,
Carl Craig,
ABBA,
The Selecter,
Country Teasers,
Wire,
The Walker Brothers,
Underground Resistance,
Bill Wells,
Wolf Eyes,
Oblivians,
Marshall Jefferson,
New Order,
Liliput,
the Fania All-Stars,
Animal Collective,
Swell Maps,
Lonnie Liston Smith,
The Wake,
The Gap Band,
Hot Snakes,
Tomorrow,
Archie Shepp,
Black Bananas,
Absolute Body Control,
The Sonics,
The Happenings,
Prince Buster,
The Music Machine,
Kas Product,
The Skatalites,
Notorious BIG live in Amsterdam,
Aural Exciters,
Kerri Chandler,
Cybotron,
Newcleus,
Robert Hood,
Mandrill,
De La Soul & Jungle Brothers,
The Buckinghams,
Au Pairs,
Avey Tare,
Flipper,
The Smoke,
Tommy Roe,
Major Organ And The Adding Machine,
John Holt, John Holt, John Holt, John Holt.
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.