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 Serbia and from Paris.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1979.
I'm losing my edge.
To all the kids in Lille and Glasgow.
I'm losing my edge to the art-school Mumbai 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 spring reverb 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 The Smoke to the jazz kids.
I played it at Cafe Wha.
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 Malaria!. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Robert Wyatt 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 mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Gap Band record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
Alison Limerick,
Stiv Bators,
The Sound,
The Red Krayola,
The Human League,
Sparks,
The Happenings,
LL Cool J,
Dorothy Ashby,
Oneida,
Delta 5,
Icehouse,
Qualms,
Deadbeat,
The Modern Lovers,
the Soft Cell,
Royal Trux,
Intrusion,
Terry Callier,
The Fuzztones,
Bill Wells,
Nick Cave & The Bad Seeds,
Beasts of Bourbon,
F. McDonald,
Yazoo,
Nation of Ulysses,
The Gladiators,
Section 25,
De La Soul & Jungle Brothers,
X-101,
Vainqueur,
Skriet,
Gang Gang Dance,
The New Christs,
Arthur Verocai,
The Dead C,
Kango’s Stein Massive,
The Star Department,
Half Japanese,
Jerry's Kids,
Tres Demented,
Adolescents,
Hasil Adkins,
Swans,
Symarip,
Circle Jerks,
Danielle Patucci,
Sällskapet,
Kenny Larkin,
Von Mondo,
Pierre Henry,
Anthony Braxton,
Rod Modell,
Procol Harum,
the Association,
The Associates,
Steve Hackett,
The Black Dice,
Kool Moe Dee,
Guru Guru,
Ken Boothe,
The Slits,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.