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 Bahrain 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 1968 to 1978.
I'm losing my edge.
To all the kids in Bremen and New York.
I'm losing my edge to the art-school Seoul 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 Avey Tare to the dance 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 Notorious BIG live in Amsterdam. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every B.T. Express 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker + Sunn O))) record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Arthur Verocai,
Art Ensemble Of Chicago,
World's Most,
London Community Gospel Choir,
Neil Young & Crazy Horse,
Amon Düül II,
Ornette Coleman,
Zapp,
Banda Bassotti,
a-ha,
The Remains,
The Music Machine,
Scott Walker + Sunn O))),
Hasil Adkins,
Jimmy McGriff,
Oblivians,
Louis and Bebe Barron,
T.S.O.L.,
Talk Talk,
Angry Samoans,
John Foxx,
Bauhaus,
Henry Cow,
Anakelly,
The Barracudas,
Lonnie Liston Smith,
Ten City,
La Düsseldorf,
Davy DMX,
Boz Scaggs,
Gong,
The Names,
Harry Pussy,
Procol Harum,
Leonard Cohen,
Roger Hodgson,
Pole,
Pierre Henry,
Graham Central Station,
Newcleus,
Qualms,
Ultimate Spinach,
Gabor Szabo,
Little Man,
Electric Light Orchestra,
Röyhkä ja Rättö ja Lehtisalo,
Morten Harket,
Sight & Sound,
Archie Shepp,
The Mighty Diamonds,
Dennis Brown,
The Fugs,
Fat Boys,
Stiv Bators,
Hot Snakes,
Judy Mowatt,
Lower 48,
the Fania All-Stars,
Be Bop Deluxe,
Bobbi Humphrey,
Barbara Tucker,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.