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 South Sudan and from Madrid.
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 1970.
I'm losing my edge.
To all the kids in Johannesburg and London.
I'm losing my edge to the art-school Woodstock 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Mary Jane Girls to the punk 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 Organ. All the underground hits.
All Bill Wells tracks. I heard you have a vinyl of every EPMD 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 '80s cut and another box set from the '80s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth 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?
Sixth Finger,
Sugar Minott,
Idris Muhammad,
Talk Talk,
Alphaville,
8 Eyed Spy,
X-101,
Agitation Free,
Pantaleimon,
The Evens,
The Royal Family And The Poor,
Freddie Wadling,
Howard Jones,
Neil Young & Crazy Horse,
Scott Walker,
Second Layer,
F. McDonald,
Alton Ellis,
The Move,
Harry Pussy,
Television,
Fifty Foot Hose,
Icehouse,
Animal Collective,
The Wake,
Connie Case,
Rhythm & Sound,
The Offenders,
Gang Starr,
Qualms,
Loose Ends,
Jacob Miller,
Mad Mike,
Gregory Isaacs,
Rekid,
Gian Franco Pienzio,
Porter Ricks,
The Blackbyrds,
Subhumans,
Soft Cell,
Bauhaus,
Faust,
Joensuu 1685,
Minor Threat,
Jeru the Damaja,
the Bar-Kays,
The Slits,
The Flesh Eaters,
Pylon,
Arab on Radar,
The Detroit Cobras,
The New Christs,
The Walker Brothers,
Mark Hollis,
Tubeway Army,
Vainqueur,
Basic Channel,
Smog,
Sister Nancy,
Ultramagnetic MC's,
Notorious Big And Bone Thugs,
Lou Reed & Metallica,
Roxette,
H. Thieme,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.