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 Sudan and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1978.
I'm losing my edge.
To all the kids in Copenhagen and Seoul.
I'm losing my edge to the art-school Lagos 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 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 B.T. Express to the techno kids.
I played it at the Troubador.
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 Lou Reed. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Lonnie Liston Smith record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Japan,
Max Romeo,
Throbbing Gristle,
Neil Young & Crazy Horse,
The Men They Couldn't Hang,
Andrew Hill,
Rhythm & Sound,
JFA,
Amazonics,
Bobby Womack,
The Skatalites,
Malaria!,
Icehouse,
Banda Bassotti,
Pharoah Sanders,
Bill Near,
Maleditus Sound,
Teenage Jesus and the Jerks,
Lee Hazlewood,
The Wake,
Lou Christie,
Basic Channel,
DJ Sneak,
The Mighty Diamonds,
Johnny Clarke,
AZ,
Joy Division,
Hardrive,
Q and Not U,
These Immortal Souls,
Todd Rundgren,
The Gun Club,
Faust,
The Gories,
Warren Ellis,
Pylon,
Juan Atkins,
the Germs,
Desert Stars,
Oppenheimer Analysis,
Subhumans,
X-102,
Sound Behaviour,
The United States of America,
Massinfluence,
The Fortunes,
Nico,
Kauko Röyhkä ja Narttu,
Minutemen,
Jesper Dahlbäck,
Lizzy Mercier Descloux,
Fort Wilson Riot,
Eyeless In Gaza,
Electric Light Orchestra,
Liliput,
Sticky Fingaz feat. Raekwon,
Black Moon,
Howard Jones,
Infiniti,
Make Up,
the Sonics,
Iggy Pop, Iggy Pop, Iggy Pop, Iggy Pop.
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.