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 Ukraine and from Salvador.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Bologna.
I'm losing my edge to the art-school Lille 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 theremin 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 Inner City to the disco 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 F. McDonald. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Blancmange record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Saints record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Severed Heads,
Rahsaan Roland Kirk,
New York Dolls,
Ultravox,
Lebanon Hanover,
Gang Starr,
a-ha,
Newcleus,
The Red Krayola,
48th St. Collective,
Soulsonic Force,
The Last Poets,
Pete Rock & C.L. Smooth,
Patti Smith,
Juan Atkins,
Kurtis Blow,
Sad Lovers and Giants,
Flipper,
Albert Ayler,
Sonny Sharrock,
Y Pants,
Swell Maps,
Faraquet,
Banda Bassotti,
Ash Ra Tempel,
Scan 7,
Lalann,
Rod Modell,
Nik Kershaw,
Kas Product,
Johnny Osbourne,
Todd Terry,
Kerrie Biddell,
The Tremeloes,
The Slackers,
Ronan,
Blancmange,
EPMD,
Delta 5,
T.S.O.L.,
Buzzcocks,
Beasts of Bourbon,
Electric Prunes,
David Axelrod,
Bronski Beat,
Harmonia,
Terry Callier,
Skaos,
Louis and Bebe Barron,
ABC,
Gabor Szabo,
The Sound,
Clear Light,
Fat Boys,
Rites of Spring,
Kango’s Stein Massive,
The Peanut Butter Conspiracy,
The Residents,
Ludus,
Cecil Taylor,
The Offenders,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.