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 Kuwait and from Hong Kong.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1978.
I'm losing my edge.
To all the kids in Paris and Salvador.
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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Mandrill to the funk kids.
I played it at the 40 Watt.
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 Super Lover Cee & Casanova Rud. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every John Cale 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Jacques Brel,
Tropical Tobacco,
Graham Central Station,
Skaos,
Ossler,
Wally Richardson,
Nico,
Unwound,
Grauzone,
Archie Shepp,
Rahsaan Roland Kirk,
Tres Demented,
Leonard Cohen,
World's Most,
Clear Light,
Kauko Röyhkä ja Narttu,
Richard Hell and the Voidoids,
Grandmaster Flash,
Lebanon Hanover,
X-Ray Spex,
Roger Hodgson,
Echospace,
the Fania All-Stars,
Theoretical Girls,
Derrick Morgan,
Technova,
Röyhkä ja Rättö ja Lehtisalo,
Orchestral Manoeuvres in the Dark,
Visionaries,LMNO, T- Love & Iriscience,
Q65,
La Düsseldorf,
R.M.O.,
Gang Starr,
10cc,
Das Ding,
The Busters,
T.S.O.L.,
Pierre Henry,
The Cowsills,
Bizarre Inc.,
The Blues Magoos,
Funkadelic,
Soulsonic Force,
The Knickerbockers,
Bush Tetras,
Barrington Levy,
Ohio Players,
Kango’s Stein Massive,
Lindisfarne,
Deadbeat,
The Detroit Cobras,
Crooked Eye,
Minutemen,
Roy Ayers Ubiquity,
Heaven 17,
James White and The Blacks,
The Men They Couldn't Hang,
Eyeless In Gaza,
Morten Harket,
Panda Bear,
One Last Wish,
Sam Rivers,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.