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 Zimbabwe and from Johannesburg.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Tehran and Glasgow.
I'm losing my edge to the art-school Jakarta 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 1978 at the first Visage practice in a loft in London.
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 Ajijia Myrayebe to the disco kids.
I played it at the Astoria.
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 Make Up. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Fad Gadget 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Hashim,
Simply Red,
The Slits,
Tomorrow,
The Moody Blues,
Wasted Youth,
Minor Threat,
Lebanon Hanover,
Rhythm & Sound,
Model 500,
Underground Resistance,
Boz Scaggs,
The Doors,
The Electric Prunes,
The Fire Engines,
Byron Stingily,
Barbara Tucker,
The Misunderstood,
Gil Scott-Heron & Brian Jackson,
Sam Rivers,
Y Pants,
Bauhaus,
Thinking Fellers Union Local 282,
De La Soul & Jungle Brothers,
Tim Buckley,
Fela Kuti,
Buzzcocks,
Lower 48,
Agitation Free,
Dennis Brown,
Selector Dub Narcotic,
Ken Boothe,
Quadrant,
Kevin Saunderson,
Faraquet,
Inner City,
Jandek,
Ralphi Rosario,
K-Klass,
David Bowie,
Big Daddy Kane,
Flamin' Groovies,
Avey Tare,
World's Most,
Erasure,
Altered Images,
Terror Squad Feat. Camron,
Mark Hollis,
Metal Thangz,
Heaven 17,
Lou Christie,
Alice Coltrane,
The Barracudas,
Peter and Kerry,
Silicon Teens,
DJ Sneak,
48th St. Collective,
Roy Ayers,
The Zeros,
The Modern Lovers,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.