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 Cameroon and from Tokyo.
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 1977.
I'm losing my edge.
To all the kids in Cairo and Taipei.
I'm losing my edge to the art-school Mexico City 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 rhodes 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 Michelle Simonal to the jazz kids.
I played it at the Astoria.
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 Pierre Henry. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Connie Case 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Toni Rubio record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
Mark Hollis,
Sly & The Family Stone,
8 Eyed Spy,
Parry Music,
The Moody Blues,
Gil Scott Heron,
Soul Sonic Force,
Major Organ And The Adding Machine,
The Searchers,
Big Daddy Kane,
Lyres,
Colin Newman,
Crispy Ambulance,
DJ Sneak,
The Shadows of Knight,
Make Up,
Babytalk,
Fear,
Wasted Youth,
Livin' Joy,
Bill Wells,
Kerrie Biddell,
Aswad,
Section 25,
Reuben Wilson,
The Barracudas,
Monolake,
Lou Christie,
Lakeside,
The Sisters of Mercy,
Pierre Henry,
DeepChord presents Echospace,
Desert Stars,
Banda Bassotti,
The Fugs,
The Mojo Men,
Cybotron,
The Index,
Sandy B,
The Selecter,
Peter & Gordon,
Moebius,
Bang On A Can,
Fela Kuti,
Marshall Jefferson,
Junior Murvin,
Smog,
Swell Maps,
Sonny Sharrock,
The Golliwogs,
Electric Prunes,
Dark Day,
Roxette,
The Mighty Diamonds,
Icehouse,
Charles Mingus,
Infiniti,
Bronski Beat,
Lungfish, Lungfish, Lungfish, Lungfish.
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.