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 Liberia and from Copenhagen.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Madrid and Bremen.
I'm losing my edge to the art-school Tokyo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 Hacienda.
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 Soft Cell. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal disco 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 sitar and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiohead,
Johnny Clarke,
PIL,
Yaz,
Jacob Miller,
Lou Reed,
Lee Hazlewood,
Nick Fraelich,
Robert Görl,
Organ,
Altered Images,
Richard Hell and the Voidoids,
Animal Collective,
Nik Kershaw,
Colin Newman,
Bobby Sherman,
Mars,
Q65,
Amon Düül,
The West Coast Pop Art Experimental Band,
the Bar-Kays,
Matthew Bourne,
Eve St. Jones,
Flamin' Groovies,
Whodini,
Japan,
Crispian St. Peters,
KRS-One,
Tom Boy,
Joey Negro,
Deepchord,
Rosa Yemen,
Cheater Slicks,
Lebanon Hanover,
Marc Romboy vs. Booka Shade,
Gang Green,
Lafayette Afro Rock Band,
Lou Christie,
Harmonia,
The Wake,
Michelle Simonal,
Frankie Knuckles,
Ash Ra Tempel,
H. Thieme,
L. Decosne,
Jesper Dahlbäck,
Royal Trux,
De La Soul & Jungle Brothers,
Cabaret Voltaire,
Funky Four + One,
Curtis Mayfield,
Can,
Model 500,
Warsaw,
Neil Young,
Glenn Branca,
the Human League,
Joy Division,
Anthony Braxton,
Icehouse,
John Coltrane,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.