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 Jamaica and from Accra.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Stockholm.
I'm losing my edge to the art-school London 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Moebius to the funk 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 Aural Exciters. All the underground hits.
All Lakeside tracks. I heard you have a vinyl of every The Pretty Things record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Buckinghams record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aloha Tigers,
The Neon Judgement,
Jacob Miller,
The United States of America,
Aaron Thompson,
Don Cherry,
Shuggie Otis,
Accadde A,
Sonny Sharrock,
Jacques Brel,
Peter & Gordon,
Bang on a Can All-Stars,
Scion,
Graham Central Station,
Vaughan Mason & Crew,
Cabaret Voltaire,
Sun City Girls,
Archie Shepp,
Magazine,
Sonic Youth,
Nas,
EPMD,
Susan Cadogan,
Tomorrow,
Andrew Ashong & Theo Parrish,
Tubeway Army,
Bobby Womack,
Q and Not U,
Man Eating Sloth,
Stereo Dub,
James White and The Blacks,
Lindisfarne,
The Busters,
Fear,
Icehouse,
Deutsch Amerikanische Freundschaft,
Suicide,
John Holt,
Tim Buckley,
Stetsasonic,
48th St. Collective,
Major Organ And The Adding Machine,
The Electric Prunes,
Fort Wilson Riot,
Johnny Clarke,
The Cowsills,
The Fugs,
The Associates,
Peter and Kerry,
Funky Four + One,
Con Funk Shun,
Bootsy Collins,
The Fire Engines,
The Pretty Things,
Wighnomy Brothers & Robag Wruhme,
Echo & the Bunnymen,
UT,
Connie Case,
Vladislav Delay,
T. Rex,
Maurizio,
The Count Five, The Count Five, The Count Five, The Count Five.
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.