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 Bosnia Herzegovina and from Lyon.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1962 to 1978.
I'm losing my edge.
To all the kids in London and Portland.
I'm losing my edge to the art-school Johannesburg 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 Captain Beefheart 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 Marine Girls to the grime 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 Porter Ricks. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Gichy Dan record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
ABC,
Joy Division,
Kaleidoscope,
Johnny Clarke,
Oblivians,
Khruangbin,
Moby Grape,
Sly & The Family Stone,
Kerri Chandler,
Masters at Work,
Crispian St. Peters,
Nas,
Al Stewart,
Blake Baxter,
Ultra Naté,
Radiopuhelimet,
Rowland S Howard / Lydia Lunch,
Average White Band,
Young Marble Giants,
Ultravox,
Theoretical Girls,
Excepter,
Parry Music,
Camouflage,
Scion,
Television,
Whodini,
Gong,
Rakim,
Liliput,
The Shadows of Knight,
Public Image Ltd.,
Pantaleimon,
Junior Murvin,
John Cale,
Lakeside,
Albert Ayler,
the Slits,
Sandy B,
Soul II Soul,
The Evens,
Q and Not U,
Iggy Pop,
Amon Düül,
Aural Exciters,
The Techniques,
Chrome,
Eddi Front,
New Age Steppers,
Rapeman,
Matthew Bourne,
Slave,
Spandau Ballet,
Alice Coltrane,
Judy Mowatt,
Eden Ahbez,
Bill Wells,
Girls At Our Best!,
The Index,
Hasil Adkins,
Aaron Thompson,
PIL, PIL, PIL, PIL.
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.