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 Burundi and from New York.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1974.
I'm losing my edge.
To all the kids in Mumbai and Mexico City.
I'm losing my edge to the art-school Beijing 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Major Organ And The Adding Machine 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 The Pretty Things. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal rock 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
the Slits,
Reagan Youth,
Barclay James Harvest,
Sly & The Family Stone,
Parry Music,
Sun City Girls,
Pantytec,
Jimmy McGriff,
Public Image Ltd.,
Ultravox,
Sparks,
Blossom Toes,
Nirvana,
Lower 48,
Marmalade,
Todd Rundgren,
David Axelrod,
Sexual Harrassment,
Spandau Ballet,
Man Parrish,
Soul Sonic Force,
KRS-One,
The Motions,
Los Fastidios,
Nas,
Michelle Simonal,
The Mummies,
Cameo,
Cybotron,
Mark Hollis,
The Slits,
Jacob Miller,
Morten Harket,
Agent Orange,
Goldenarms,
Chrome,
Flipper,
The Tremeloes,
John Lydon,
Godley & Creme,
Kool Moe Dee,
Junior Murvin,
Blake Baxter,
Marc Almond,
The Cosmic Jokers,
Average White Band,
The Young Rascals,
Stockholm Monsters,
Glenn Branca,
Marvin Gaye,
Country Joe & The Fish,
Lou Reed & John Cale,
Orchestral Manoeuvres in the Dark,
Von Mondo,
Oblivians,
Boz Scaggs,
Nils Olav,
Skaos,
Terry Callier,
Grandmaster Flash,
the Sonics,
DJ Sneak,
Eden Ahbez, Eden Ahbez, Eden Ahbez, Eden Ahbez.
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.