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 Uzbekistan 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 1971.
I'm losing my edge.
To all the kids in Lagos and Bologna.
I'm losing my edge to the art-school Shanghai 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the mellotron 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 Sonny Sharrock 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 Liaisons Dangereuses. All the underground hits.
All Orchestral Manoeuvres in the Dark tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
Bobbi Humphrey,
Camberwell Now,
the Bar-Kays,
Nik Kershaw,
Reuben Wilson,
Gary Puckett & The Union Gap,
The Cure,
Inner City,
DJ Sneak,
Eve St. Jones,
Thinking Fellers Union Local 282,
London Community Gospel Choir,
a-ha,
Drexciya,
Cecil Taylor,
Marine Girls,
The Alarm Clocks,
Beasts of Bourbon,
Lightning Bolt,
OOIOO,
Oppenheimer Analysis,
Q65,
Lou Reed & Metallica,
Kayak,
Black Flag,
Skaos,
Rotary Connection,
Althea and Donna,
Gastr Del Sol,
Bill Wells,
Bootsy's Rubber Band,
Arcadia,
Angels of Light & Akron/Family,
Roxy Music,
Kerrie Biddell,
Lindisfarne,
David McCallum,
the Normal,
Moby Grape,
Circle Jerks,
The Fugs,
Pagans,
Blancmange,
John Lydon,
Pharaoh Sanders and the Fire Engines,
Basic Channel,
D'Angelo,
Stiv Bators,
Nico,
Josef K,
Royal Trux,
Skriet,
The Human League,
Scion,
Ash Ra Tempel,
Bauhaus,
The Birthday Party,
The Slits,
Sight & Sound,
Rhythim Is Rhythim,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.