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 South Africa and from Accra.
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 1977.
I'm losing my edge.
To all the kids in Portland and Lille.
I'm losing my edge to the art-school Lyon 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Letta Mbulu to the grunge kids.
I played it at the Roxy.
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 Echo & the Bunnymen. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Dawn Penn record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
Panda Bear,
Max Romeo,
Michelle Simonal,
Sun Ra Arkestra,
The Dirtbombs,
The Gap Band,
the Soft Cell,
Country Joe & The Fish,
Marvin Gaye,
Arthur Verocai,
Sällskapet,
Terry Callier,
Q and Not U,
Main Source,
Henry Cow,
Byron Stingily,
CMW,
Bluetip,
The Jesus and Mary Chain,
Warren Ellis,
Peter & Gordon,
Gregory Isaacs,
Grauzone,
Eric B and Rakim,
Spandau Ballet,
The Fortunes,
Massinfluence,
Barry Ungar,
Ajijia Myrayebe,
The Names,
Gong,
Black Pus,
The United States of America,
Marine Girls,
Roy Ayers Ubiquity,
Manfred Mann's Earth Band,
Marmalade,
Funkadelic,
Index,
The Neon Judgement,
Monks,
Rowland S Howard / Lydia Lunch,
Susan Cadogan,
Rufus Thomas,
Dorothy Ashby,
Scion,
Cheater Slicks,
Curtis Mayfield,
Ultravox,
Pylon,
Major Organ And The Adding Machine,
Bill Wells,
Sun Ra,
Unwound,
Interpol,
Nas,
Albert Ayler,
The Grass Roots,
Roxette,
Gang Green, Gang Green, Gang Green, Gang Green.
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.