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 Israel and from Taipei.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Madrid and Lyon.
I'm losing my edge to the art-school Sao Paulo 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the mellotron 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 Electric Prunes to the electroclash kids.
I played it at the Spitz.
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 China Crisis. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Rhythm & Sound,
Grey Daturas,
Motorama,
Danielle Patucci,
Ituana,
The Moleskins,
Ossler,
The Count Five,
Matthew Bourne,
Ronnie Foster,
Dead Boys,
Traffic Nightmare,
Technova,
Nation of Ulysses,
Warren Ellis,
The West Coast Pop Art Experimental Band,
Banda Bassotti,
The Birthday Party,
Alphaville,
Silicon Teens,
Bobby Womack,
Terrestrial Tones,
Average White Band,
Jesper Dahlback,
The Dead C,
Unrelated Segments,
Magma,
Fat Boys,
Eli Mardock,
Crispy Ambulance,
James Chance & The Contortions,
Faust,
The Jesus and Mary Chain,
Anakelly,
The Fall,
Fad Gadget,
Aaron Thompson,
Bad Manners,
Johnny Osbourne,
Mark Hollis,
Delon & Dalcan,
Michelle Simonal,
Jeff Mills,
Con Funk Shun,
Model 500,
Boz Scaggs,
Angry Samoans,
Arab on Radar,
June of 44,
The Sonics,
Grauzone,
Marc Romboy vs. Booka Shade,
Todd Rundgren,
Janne Schatter,
Leonard Cohen,
Fluxion,
the Association,
Sällskapet,
Sad Lovers and Giants,
June Days,
The Electric Prunes,
Bobby Hutcherson,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.