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 Turkmenistan and from Hong Kong.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Shanghai.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 James Chance & The Contortions to the funk 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 One Last Wish. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kayak record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonny Sharrock,
Nirvana,
The Durutti Column,
Pharaoh Sanders and the Fire Engines,
Pierre Henry,
Tom Boy,
David Bowie,
The Music Machine,
Interpol,
Thee Headcoats,
Grandmaster Flash and the Furious Five,
Silicon Teens,
the Association,
Unwound,
Rufus Thomas,
Fugazi,
La Düsseldorf,
Jerry's Kids,
Beasts of Bourbon,
Deepchord,
T.S.O.L.,
Gabor Szabo,
Bobby Womack,
Johnny Osbourne,
The Smoke,
Robert Wyatt,
Patti Smith,
Lalo Schifrin,
the Soft Cell,
Black Pus,
The Black Dice,
Chris & Cosey,
Public Enemy,
Deutsch Amerikanische Freundschaft,
Rowland S Howard / Lydia Lunch,
The Fugs,
Stockholm Monsters,
The Sisters of Mercy,
Barclay James Harvest,
Gerry Rafferty,
John Holt,
AZ,
Soft Machine,
Crash Course in Science,
Bobby Sherman,
Ponytail,
Agent Orange,
Eurythmics,
Heaven 17,
Aaron Thompson,
Little Man,
Cabaret Voltaire,
Dennis Brown,
Dawn Penn,
Eddi Front,
The Cramps,
Kool G Rap & DJ Polo,
Delta 5,
Aural Exciters,
Adolescents,
The Monochrome Set,
Hoover,
Rosa Yemen,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.