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 Eritrea and from Taipei.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Delhi.
I'm losing my edge to the art-school Johannesburg 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 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 Matthew Bourne to the electroclash 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 Fugazi. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Jerry's Kids record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
Radio Birdman,
Ituana,
Vainqueur,
Arcadia,
Spandau Ballet,
Arthur Verocai,
The Young Rascals,
Rakim,
Ultravox,
Jawbox,
Essential Logic,
Joey Negro,
The Searchers,
Q and Not U,
Fifty Foot Hose,
X-101,
The Blackbyrds,
The Move,
F. McDonald,
Cecil Taylor,
Lafayette Afro Rock Band,
Crispian St. Peters,
Steve Hackett,
John Holt,
Archie Shepp,
Ponytail,
Crime,
ABBA,
Soul Sonic Force,
Bobby Womack,
Grauzone,
The Motions,
Nick Cave & The Bad Seeds,
London Community Gospel Choir,
Cameo,
DJ Style,
Janne Schatter,
Scion,
Roger Hodgson,
Rotary Connection,
Drive Like Jehu,
The Martian,
Jandek,
Groovy Waters,
Richard Hell and the Voidoids,
Manfred Mann's Earth Band,
Mr. Review,
Con Funk Shun,
The Golliwogs,
Minnie Riperton,
Man Eating Sloth,
Bob Dylan,
Yaz,
Duran Duran,
Ultra Naté,
Blake Baxter,
Al Stewart,
Section 25,
Magazine,
the Normal,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.