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 Mali and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Tehran and Paris.
I'm losing my edge to the art-school Madrid 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 chamberlin 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 Silicon Teens to the crunk kids.
I played it at the Troubador.
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 Electric Light Orchestra. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Roy Ayers Ubiquity 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Main Source,
Agent Orange,
the Swans,
Warsaw,
Yazoo,
Kayak,
Avey Tare,
Ultimate Spinach,
The Techniques,
Grey Daturas,
Interpol,
John Cale,
Lou Reed,
Marshall Jefferson,
Sugar Minott,
Marine Girls,
The Victims,
Jacob Miller,
The Kinks,
Fluxion,
Joensuu 1685,
Harry Pussy,
Wasted Youth,
Little Man,
Sly & The Family Stone,
Dawn Penn,
Big Daddy Kane,
Fela Kuti,
Sight & Sound,
Jerry Gold Smith,
Notorious Big And Bone Thugs,
Mandrill,
The Residents,
Letta Mbulu,
The Cure,
Andrew Hill,
Oppenheimer Analysis,
Eric B and Rakim,
Aural Exciters,
Michelle Simonal,
Japan,
Marmalade,
Howard Jones,
Motorama,
The Move,
Wally Richardson,
Derrick May,
Joe Finger,
Fad Gadget,
Desert Stars,
Sonny Sharrock,
Dave Gahan,
Zapp,
LL Cool J,
The Cowsills,
Gian Franco Pienzio,
Deutsch Amerikanische Freundschaft,
Moby Grape,
Quantec,
Ronan,
New York Dolls,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.