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 Germany and from Copenhagen.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Manchester and Cairo.
I'm losing my edge to the art-school Glasgow 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 Chocolate Watch Band to the grunge 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 Jeff Mills. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sparks record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
Make Up,
These Immortal Souls,
Urselle,
Sun City Girls,
Letta Mbulu,
Delta 5,
Quando Quango,
Mad Mike,
Red Lorry Yellow Lorry,
Jeff Lynne,
The West Coast Pop Art Experimental Band,
The Move,
Sex Pistols,
Crime,
DJ Sneak,
Ronan,
Deutsch Amerikanische Freundschaft,
MC5,
AZ,
Laurel Aitken,
Notorious Big And Bone Thugs,
China Crisis,
Joensuu 1685,
Bang On A Can,
The J.B.'s,
Intrusion,
The Real Kids,
Cheater Slicks,
K-Klass,
Depeche Mode,
Vainqueur,
Sandy B,
Warsaw,
Ossler,
Eric Dolphy,
E-Dancer,
David McCallum,
Sonny Sharrock,
Banda Bassotti,
Tommy Roe,
Reagan Youth,
Roy Ayers Ubiquity,
Suicide,
The Toasters,
Rekid,
Negative Approach,
The Mummies,
Aural Exciters,
Josef K,
The Velvet Underground,
Bootsy's Rubber Band,
Jawbox,
Anthony Braxton,
Zero Boys,
Mars,
The Fall,
Interpol,
Cluster,
Gil Scott Heron,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.