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 El Salvador and from Mexico City.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Manchester and Jakarta.
I'm losing my edge to the art-school Cairo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Bauhaus to the dance kids.
I played it at the Crocodile.
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 Nick Fraelich. All the underground hits.
All Rosa Yemen 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 punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slackers,
Youth Brigade,
Subhumans,
MDC,
Bang on a Can All-Stars,
the Association,
The West Coast Pop Art Experimental Band,
Gil Scott-Heron and Jamie xx,
Neil Young & Crazy Horse,
Ice-T,
Funky Four + One,
Howard Jones,
Reuben Wilson,
Rowland S Howard / Lydia Lunch,
D'Angelo,
Japan,
Audionom,
The Saints,
Jawbox,
Guru Guru,
Ronnie Foster,
Eddi Front,
Grandmaster Flash and the Furious Five,
Throbbing Gristle,
ABC,
Kool G Rap & DJ Polo,
Nation of Ulysses,
Trumans Water,
Siglo XX,
Gary Puckett & The Union Gap,
Silicon Teens,
Eric B and Rakim,
Quando Quango,
T. Rex,
Soft Machine,
Steve Hackett,
Rekid,
The Moleskins,
Ultra Naté,
John Foxx,
the Slits,
Dual Sessions,
Kaleidoscope,
Johnny Osbourne,
Larry & the Blue Notes,
Groovy Waters,
Amon Düül II,
The Electric Prunes,
The Human League,
Spoonie Gee,
Franke,
Urselle,
OOIOO,
Idris Muhammad,
LL Cool J,
New York Dolls,
Yaz,
B.T. Express,
Sexual Harrassment,
Magma,
U.S. Maple,
Barrington Levy,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.