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 Israel and from Bologna.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Glasgow.
I'm losing my edge to the art-school Mumbai 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Count Five to the jazz 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 Talk Talk. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every The Blackbyrds 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Depeche Mode,
The Blackbyrds,
Kerri Chandler,
Scott Walker,
The Barracudas,
Eric Dolphy,
Cheater Slicks,
Fluxion,
The Standells,
Sonny Sharrock,
Swell Maps,
Rahsaan Roland Kirk,
cv313,
Electric Light Orchestra,
the Slits,
The Sonics,
The Dave Clark Five,
ABBA,
Sparks,
Patti Smith,
Louis and Bebe Barron,
Kings Of Tomorrow,
Carl Craig,
Peter Gordon & Love of Life Orchestra,
Tubeway Army,
The Star Department,
Tropical Tobacco,
Hasil Adkins,
Nils Olav,
Half Japanese,
Black Moon,
Fifty Foot Hose,
The Walker Brothers,
Eurythmics,
Sad Lovers and Giants,
The Fuzztones,
Sällskapet,
The Alarm Clocks,
Notorious Big And Bone Thugs,
Unwound,
Bauhaus,
Make Up,
David Axelrod,
Idris Muhammad,
Khruangbin,
Archie Shepp,
Public Enemy,
Drive Like Jehu,
PIL,
Jerry Gold Smith,
Shoche,
Fatback Band,
The Fire Engines,
Jerry's Kids,
Rod Modell,
Henry Cow,
Jacob Miller,
Pharaoh Sanders and the Fire Engines,
AZ,
Circle Jerks,
Von Mondo,
The Smiths,
Second Layer,
Connie Case, Connie Case, Connie Case, Connie Case.
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.