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 Belarus and from Jakarta.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Calgary.
I'm losing my edge to the art-school Tehran 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the oboe 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 The Neon Judgement to the punk 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 Prince Buster. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every Los Fastidios record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Lakeside,
Rahsaan Roland Kirk,
Drexciya,
The New Christs,
T. Rex,
Rites of Spring,
Roxette,
The Move,
the Swans,
Godley & Creme,
Altered Images,
Crash Course in Science,
Harpers Bizarre,
In Retrospect,
Rapeman,
Barclay James Harvest,
Glambeats Corp.,
Subhumans,
LL Cool J,
Shuggie Otis,
Marine Girls,
The Dave Clark Five,
Hashim,
Sight & Sound,
The Jesus and Mary Chain,
Brass Construction,
The Moleskins,
Kool G Rap & DJ Polo,
Cameo,
Pete Rock & C.L. Smooth,
The Music Machine,
Severed Heads,
Nation of Ulysses,
Bizarre Inc.,
The Young Rascals,
Mark Hollis,
Con Funk Shun,
Robert Hood,
Underground Resistance,
Pharaoh Sanders and the Fire Engines,
Country Joe & The Fish,
Frankie Knuckles,
Avey Tare,
Cheater Slicks,
Negative Approach,
Lebanon Hanover,
Barrington Levy,
Yusef Lateef,
Desert Stars,
Pole,
Rowland S Howard / Lydia Lunch,
Talk Talk,
Colin Newman,
Gregory Isaacs,
Maleditus Sound,
Dual Sessions,
Massinfluence,
Patti Smith,
The Zeros,
Joy Division,
Curtis Mayfield,
Charles Mingus,
Dave Gahan, Dave Gahan, Dave Gahan, Dave Gahan.
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.