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 Portugal and from Halifax.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Mumbai.
I'm losing my edge to the art-school Manchester 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 808 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 One Last Wish 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 Robert Hood. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Von Mondo record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Clear Light,
Audionom,
Urselle,
James Chance & The Contortions,
Fatback Band,
Susan Cadogan,
Lindisfarne,
Steve Hackett,
Lebanon Hanover,
Icehouse,
The Misunderstood,
Boogie Down Productions,
Cecil Taylor,
Amon Düül II,
JFA,
Deadbeat,
Fela Kuti,
Liliput,
Leonard Cohen,
Yellowson,
Yazoo,
Yusef Lateef,
Malaria!,
X-Ray Spex,
Agent Orange,
Spoonie Gee,
Sarah Menescal,
Marine Girls,
Cybotron,
Cabaret Voltaire,
Deakin,
Excepter,
Joyce Sims,
UT,
Pole,
Bootsy Collins,
Q65,
Deepchord,
Black Bananas,
ABC,
Oneida,
Pagans,
Joy Division,
Marc Romboy vs. Booka Shade,
A Flock of Seagulls,
MDC,
Archie Shepp,
The Young Rascals,
Lafayette Afro Rock Band,
The New Christs,
Joey Negro,
Scott Walker,
Depeche Mode,
Ronnie Foster,
Negative Approach,
Angels of Light & Akron/Family,
Cameo,
L. Decosne,
Prince Buster,
The Gories, The Gories, The Gories, The Gories.
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.