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 Ethiopia and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Lille and Salvador.
I'm losing my edge to the art-school Lagos 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Lou Reed to the grime 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 Lyres. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every Mantronix record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Angry Samoans record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Pierre Henry,
Cluster,
Eve St. Jones,
Terry Callier,
Lizzy Mercier Descloux,
Kenny Larkin,
Prince Buster,
Rhythm & Sound,
E-Dancer,
Bobbi Humphrey,
Delta 5,
Bobby Sherman,
U.S. Maple,
Hasil Adkins,
Skaos,
Jesper Dahlback,
Magazine,
The Pop Group,
Dark Day,
Nick Cave & The Bad Seeds,
Barry Ungar,
Rekid,
Super Lover Cee & Casanova Rud,
James Chance & The Contortions,
Minor Threat,
AZ,
Moss Icon,
Judy Mowatt,
The Pretty Things,
Al Stewart,
T.S.O.L.,
Aural Exciters,
Mary Jane Girls,
Joyce Sims,
Interpol,
Sex Pistols,
Lower 48,
Moebius,
Kings Of Tomorrow,
Kaleidoscope,
Be Bop Deluxe,
Bill Wells,
The Mojo Men,
Isaac Hayes,
Manfred Mann's Earth Band,
Andrew Hill,
Rod Modell,
The Buckinghams,
Qualms,
The Beau Brummels,
Tears for Fears,
Depeche Mode,
Barbara Tucker,
The Jesus and Mary Chain,
Jesper Dahlbäck,
Absolute Body Control,
The Associates,
The Leaves,
Selector Dub Narcotic,
It's A Beautiful Day,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.