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 Georgia and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1974.
I'm losing my edge.
To all the kids in Calgary and Portland.
I'm losing my edge to the art-school New York 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the harpsichord 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 The Dead C to the crunk kids.
I played it at Trash.
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 Lebanon Hanover. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Gang Green record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Captain Beefheart & His Magic Band,
Hoover,
The United States of America,
Lou Christie,
The Star Department,
Royal Trux,
Larry & the Blue Notes,
Urselle,
The Gories,
Roger Hodgson,
10cc,
The Standells,
Bush Tetras,
Jerry's Kids,
Kango’s Stein Massive,
Jimmy McGriff,
Andrew Ashong & Theo Parrish,
Prince Buster,
The Sisters of Mercy,
Wire,
Index,
Lizzy Mercier Descloux,
The Birthday Party,
Orchestral Manoeuvres in the Dark,
K-Klass,
Depeche Mode,
Ronnie Foster,
Blancmange,
Deadbeat,
Rufus Thomas,
Howard Jones,
Mo-Dettes,
Lebanon Hanover,
Aaron Thompson,
Arcadia,
Bob Dylan,
Television,
Joey Negro,
Symarip,
Hot Snakes,
Sandy B,
KRS-One,
Letta Mbulu,
Amon Düül II,
Bootsy Collins,
Moby Grape,
Ultra Naté,
Chris Corsano,
The Zeros,
AZ,
Ultimate Spinach,
the Sonics,
DNA,
Vaughan Mason & Crew,
The Associates,
Bluetip,
Bobby Hutcherson,
Derrick May,
The Skatalites,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.