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 Uruguay and from Winnipeg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and London.
I'm losing my edge to the art-school Taipei 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Neil Young 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 Sly & The Family Stone. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every Stetsasonic 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 '70s cut and another box set from the '90s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Scrapy record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
Rhythm & Sound,
Sister Nancy,
Lightning Bolt,
Dual Sessions,
Traffic Nightmare,
Deadbeat,
The Dead C,
Pantaleimon,
Altered Images,
Archie Shepp,
Agent Orange,
Joensuu 1685,
Freddie Wadling,
Swell Maps,
Gang Green,
The Moody Blues,
Man Eating Sloth,
Delta 5,
Johnny Clarke,
Gerry Rafferty,
John Cale,
Harmonia,
Supertramp,
Radio Birdman,
Jerry's Kids,
Clear Light,
Scion,
Television,
Avey Tare & Kría Brekkan,
Dawn Penn,
Royal Trux,
The Names,
Judy Mowatt,
PIL,
Gabor Szabo,
The West Coast Pop Art Experimental Band,
Surgeon,
Black Bananas,
Scan 7,
KRS-One,
X-102,
Skarface,
Tres Demented,
Saccharine Trust,
Charles Mingus,
Ituana,
Drive Like Jehu,
Kenny Larkin,
a-ha,
Joey Negro,
The Dave Clark Five,
Siouxsie and the Banshees,
Quadrant,
Soul Sonic Force,
Pylon,
James White and The Blacks,
Eric Copeland,
Dark Day,
Lou Christie,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.