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 Latvia and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and London.
I'm losing my edge to the art-school Paris 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 harpsichord 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 Tom Boy to the grunge kids.
I played it at the Roxy.
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 Matthew Halsall. All the underground hits.
All Beasts of Bourbon tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
The Trojans,
Sparks,
Scan 7,
Suburban Knight,
Harpers Bizarre,
Art Ensemble Of Chicago,
Wally Richardson,
Kenny Larkin,
Technova,
Eli Mardock,
Mad Mike,
The Saints,
Cybotron,
Cabaret Voltaire,
Porter Ricks,
Teenage Jesus and the Jerks,
the Association,
Wighnomy Brothers & Robag Wruhme,
Stockholm Monsters,
Leonard Cohen,
Arthur Verocai,
Röyhkä ja Rättö ja Lehtisalo,
Bobby Hutcherson,
Lafayette Afro Rock Band,
The Mighty Diamonds,
Trumans Water,
Josef K,
The Gories,
Second Layer,
Oppenheimer Analysis,
The Gap Band,
The Alarm Clocks,
Reuben Wilson,
Hasil Adkins,
Barbara Tucker,
Pantytec,
Orchestral Manoeuvres in the Dark,
Heavy D & The Boyz,
Anakelly,
Agitation Free,
Jeff Mills,
cv313,
Richard Hell and the Voidoids,
Jacques Brel,
Lonnie Liston Smith,
Model 500,
John Coltrane,
Tim Buckley,
Moebius,
Neil Young,
Heaven 17,
These Immortal Souls,
Big Daddy Kane,
Zero Boys,
Amon Düül,
Quadrant,
Peter and Kerry,
E-Dancer,
Soul Sonic Force,
Bobbi Humphrey,
Gong,
Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen.
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.