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 Malawi and from Seoul.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Cairo.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the guitar sounds with much patience.
I was there when Lou Reed 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 Soft Machine to the crunk kids.
I played it at CBGB's.
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 T. Rex. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Zapp 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 '70s cut and another box set from the '80s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Super Lover Cee & Casanova Rud,
Radio Birdman,
PIL,
The Sonics,
Arcadia,
The Pretty Things,
Lakeside,
Drexciya,
The Moody Blues,
John Lydon,
Groovy Waters,
Suicide,
Fort Wilson Riot,
Mandrill,
Cameo,
Todd Terry,
Gil Scott-Heron & Brian Jackson,
Wire,
Zero Boys,
Joey Negro,
Mission of Burma,
Jeru the Damaja,
Robert Görl,
Malaria!,
The Zeros,
Ultra Naté,
Tres Demented,
Avey Tare's Slasher Flicks,
Deakin,
Matthew Bourne,
Notorious BIG live in Amsterdam,
Barclay James Harvest,
Masters at Work,
Radiopuhelimet,
The Move,
Lizzy Mercier Descloux,
Marcia Griffiths,
Letta Mbulu,
U.S. Maple,
Half Japanese,
Isaac Hayes,
Audionom,
Pere Ubu,
Kerri Chandler,
Rotary Connection,
Gary Puckett & The Union Gap,
Essential Logic,
Rufus Thomas,
Visage,
Liliput,
Pharaoh Sanders and the Fire Engines,
Swans,
Sister Nancy,
Cymande,
Arthur Verocai,
Scrapy,
Lucky Dragons,
Newcleus,
The Trojans,
Fifty Foot Hose,
Big Daddy Kane,
Brothers Johnson,
Symarip, Symarip, Symarip, Symarip.
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.