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 Congo and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Manila and New York.
I'm losing my edge to the art-school Tehran 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 marimba 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 Camouflage to the jazz 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 Jacob Miller. All the underground hits.
All Pagans tracks. I heard you have a vinyl of every Index record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Orchestral Manoeuvres in the Dark,
Sugar Minott,
Kings Of Tomorrow,
Sunsets and Hearts,
The Move,
Morten Harket,
Beasts of Bourbon,
Fela Kuti,
Carl Craig,
The Fall,
Lonnie Liston Smith,
Lebanon Hanover,
Lucky Dragons,
Ornette Coleman,
Kaleidoscope,
The Star Department,
The Men They Couldn't Hang,
This Heat,
Dave Gahan,
Can,
Drive Like Jehu,
Vaughan Mason & Crew,
Bizarre Inc.,
The Royal Family And The Poor,
The Gladiators,
Chris Corsano,
Nik Kershaw,
the Germs,
Yaz,
Sun Ra,
Lightning Bolt,
Sister Nancy,
Ossler,
Wasted Youth,
Moebius,
Newcleus,
Grauzone,
Eyeless In Gaza,
Peter & Gordon,
Fifty Foot Hose,
The Mummies,
Radiopuhelimet,
The American Breed,
The Alarm Clocks,
the Slits,
Camberwell Now,
The Blues Magoos,
Darondo,
Eddi Front,
The Tremeloes,
Man Eating Sloth,
Electric Prunes,
The Durutti Column,
Juan Atkins,
Television Personalities,
David McCallum,
R.M.O.,
Reagan Youth,
Harmonia,
Index, Index, Index, Index.
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.