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 Indonesia 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 1960 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Mexico City.
I'm losing my edge to the art-school Seoul 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Aural Exciters to the punk kids.
I played it at Trash.
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 Silicon Teens. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Al Stewart,
Anthony Braxton,
Michelle Simonal,
Smog,
Young Marble Giants,
Sister Nancy,
In Retrospect,
Soft Cell,
Dark Day,
Bobby Hutcherson,
Faraquet,
Grauzone,
Quando Quango,
Art Ensemble Of Chicago,
Pylon,
Magma,
Deutsch Amerikanische Freundschaft,
Barclay James Harvest,
Jesper Dahlback,
Archie Shepp,
Sun Ra,
Albert Ayler,
Scion,
The Fortunes,
The Gladiators,
Shuggie Otis,
The Skatalites,
Jacob Miller,
Goldenarms,
Marine Girls,
Gil Scott-Heron and Jamie xx,
The Slits,
Nation of Ulysses,
Audionom,
Danielle Patucci,
Dorothy Ashby,
Severed Heads,
Marmalade,
Arthur Verocai,
Panda Bear,
Black Pus,
Fear,
the Slits,
Judy Mowatt,
Minor Threat,
The Residents,
Pere Ubu,
Strawberry Alarm Clock,
Mantronix,
Saccharine Trust,
The Doors,
Lou Reed & John Cale,
Glambeats Corp.,
Arab on Radar,
Quadrant,
Black Flag,
Justin Hinds & The Dominoes,
Supertramp,
Alison Limerick,
Liliput,
Youth Brigade,
Mark Hollis,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.