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 East Timor and from Spokane.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Cairo and Mumbai.
I'm losing my edge to the art-school London 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 linndrum 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 John Coltrane to the electroclash 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 Soft Machine. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Kango’s Stein Massive 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 '80s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June Days,
K-Klass,
B.T. Express,
Pantaleimon,
La Düsseldorf,
the Slits,
Camberwell Now,
The Busters,
Harmonia,
Strawberry Alarm Clock,
Soft Cell,
The Offenders,
Gang Gang Dance,
Black Sheep,
Ash Ra Tempel,
The Moody Blues,
Reuben Wilson,
Althea and Donna,
Swans,
Man Parrish,
Oppenheimer Analysis,
Rotary Connection,
AZ,
The Fall,
the Swans,
Faust,
Peter Gordon & Love of Life Orchestra,
Fort Wilson Riot,
Todd Terry,
Minny Pops,
It's A Beautiful Day,
The Zeros,
Barrington Levy,
Lou Reed,
Anthony Braxton,
Eve St. Jones,
Wighnomy Brothers & Robag Wruhme,
Parry Music,
The West Coast Pop Art Experimental Band,
Audionom,
Amon Düül,
10cc,
Robert Görl,
Justin Hinds & The Dominoes,
Orchestral Manoeuvres in the Dark,
Fatback Band,
The Tremeloes,
Heaven 17,
Public Image Ltd.,
Deepchord,
Scientists,
Ralphi Rosario,
Unwound,
Scan 7,
Hashim,
Eddi Front,
The United States of America,
Maleditus Sound,
The Sisters of Mercy,
Cheater Slicks,
Minnie Riperton,
Silicon Teens,
The Alarm Clocks,
Livin' Joy, Livin' Joy, Livin' Joy, Livin' Joy.
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.