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 Cambodia and from Madrid.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Beijing 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Laurel Aitken to the dance kids.
I played it at Cafe Wha.
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 Monochrome Set. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
8 Eyed Spy,
John Foxx,
Shuggie Otis,
The Fuzztones,
Swans,
Gastr Del Sol,
Selector Dub Narcotic,
Wolf Eyes,
James White and The Blacks,
Unrelated Segments,
Rhythim Is Rhythim,
Josef K,
Subhumans,
Bill Near,
Oblivians,
Sugar Minott,
Quantec,
Jawbox,
It's A Beautiful Day,
Curtis Mayfield,
Gang of Four,
Neu!,
Visage,
Joe Finger,
Liliput,
Lafayette Afro Rock Band,
Ronnie Foster,
The Barracudas,
Byron Stingily,
Ronan,
The Busters,
Duran Duran,
Strawberry Alarm Clock,
Tom Boy,
Ultra Naté,
Flash Fearless,
John Lydon,
The Gories,
Metal Thangz,
The American Breed,
Beasts of Bourbon,
Jeff Lynne,
Suicide,
Wire,
Masters at Work,
The Misunderstood,
Colin Newman,
The Fugs,
Sparks,
Harmonia,
Andrew Ashong & Theo Parrish,
The Chocolate Watch Band,
Faust,
Flamin' Groovies,
The Gun Club,
K-Klass,
Michelle Simonal,
Pussy Galore,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.