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 Qatar and from Madrid.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Delhi and Beijing.
I'm losing my edge to the art-school Glasgow 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the harpsichord 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 The Dave Clark Five to the grime kids.
I played it at the Crocodile.
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 Deadbeat. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Severed Heads record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
Monks,
Deakin,
the Normal,
Richard Hell and the Voidoids,
Yazoo,
The Associates,
Roxy Music,
Gastr Del Sol,
Robert Wyatt,
Lucky Dragons,
DJ Sneak,
Lebanon Hanover,
Max Romeo,
Sandy B,
48th St. Collective,
Suburban Knight,
Simply Red,
Sunsets and Hearts,
Minny Pops,
Lou Christie,
The Young Rascals,
Vladislav Delay,
The Golliwogs,
Talk Talk,
Magma,
Crispian St. Peters,
Spandau Ballet,
Electric Light Orchestra,
Kerri Chandler,
Fela Kuti,
Cymande,
The Angels of Light,
June of 44,
The Dead C,
Oneida,
Peter and Kerry,
Television Personalities,
Ash Ra Tempel,
Letta Mbulu,
The Toasters,
Junior Murvin,
Tropical Tobacco,
Guru Guru,
Morten Harket,
Model 500,
The Pop Group,
Quadrant,
Unrelated Segments,
Sight & Sound,
Drexciya,
Soft Machine,
Outsiders,
Chris & Cosey,
Massinfluence,
Can,
The Offenders,
Con Funk Shun,
Pharaoh Sanders and the Fire Engines,
Bang On A Can,
Fugazi,
John Holt, John Holt, John Holt, John Holt.
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.