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 Syria and from Manila.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1969 to 1975.
I'm losing my edge.
To all the kids in Paris and Madrid.
I'm losing my edge to the art-school Winnipeg 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 marimba sounds with much patience.
I was there when David Bowie 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 Grass Roots to the techno kids.
I played it at the 40 Watt.
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 Rites of Spring. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every The Slackers record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maurizio,
Joyce Sims,
Lizzy Mercier Descloux,
Scratch Acid,
Bauhaus,
Graham Central Station,
Amon Düül,
Orchestral Manoeuvres in the Dark,
The Gladiators,
Matthew Bourne,
The Barracudas,
Lonnie Liston Smith,
Tim Buckley,
Bobby Sherman,
Rakim,
The Residents,
Ohio Players,
Brand Nubian,
The Busters,
Jacques Brel,
The Durutti Column,
The Neon Judgement,
The Mummies,
Moby Grape,
Shoche,
Pantytec,
Carl Craig,
Motorama,
Suburban Knight,
Pylon,
The Vogues,
Sugar Minott,
Das Ding,
Toni Rubio,
Gary Puckett & The Union Gap,
The Skatalites,
Howard Jones,
London Community Gospel Choir,
The Names,
Basic Channel,
Negative Approach,
Trumans Water,
Essential Logic,
Sarah Menescal,
Justin Hinds & The Dominoes,
Arcadia,
The Blackbyrds,
The Cramps,
Faust,
The West Coast Pop Art Experimental Band,
Anthony Braxton,
Khruangbin,
F. McDonald,
Ronan,
The Index,
DJ Sneak,
Organ,
Marmalade,
Pere Ubu,
Black Bananas,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.