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 St Lucia and from Tokyo.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Spokane and Seoul.
I'm losing my edge to the art-school Winnipeg 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Bob Dylan to the funk 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 Joe Finger. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Technova record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a John Foxx record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Aural Exciters,
Chris & Cosey,
The Saints,
Sad Lovers and Giants,
Al Stewart,
Boz Scaggs,
Motorama,
Pantaleimon,
OOIOO,
The Happenings,
Red Lorry Yellow Lorry,
Strawberry Alarm Clock,
The Mojo Men,
Gil Scott-Heron & Brian Jackson,
UT,
Kayak,
Boredoms,
Sister Nancy,
MDC,
New Order,
Unrelated Segments,
The Smiths,
Neil Young & Crazy Horse,
Faraquet,
Marine Girls,
The Sonics,
Kings Of Tomorrow,
U.S. Maple,
Supertramp,
Roy Ayers Ubiquity,
Rakim,
Tropical Tobacco,
Q and Not U,
Bluetip,
Ralphi Rosario,
Connie Case,
Kauko Röyhkä ja Narttu,
Aloha Tigers,
Liliput,
Gary Puckett & The Union Gap,
Lizzy Mercier Descloux,
Slave,
Spandau Ballet,
The Buckinghams,
L. Decosne,
Lou Christie,
Morten Harket,
The Five Americans,
Flipper,
Camberwell Now,
Sight & Sound,
Piero Umiliani,
Ash Ra Tempel,
Prince Buster,
Swans,
Malaria!,
kango's stein massive,
Oppenheimer Analysis,
Parry Music,
Gong, Gong, Gong, Gong.
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.