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 Zambia and from Paris.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Bremen and New York.
I'm losing my edge to the art-school Paris 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the harpsichord 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 Fad Gadget to the crunk 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 The Mojo Men. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal rock 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 a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joensuu 1685,
Brick,
The Standells,
Kerrie Biddell,
Minnie Riperton,
Monolake,
Donny Hathaway,
Pantaleimon,
James White and The Blacks,
Flipper,
Louis and Bebe Barron,
Gang Starr,
The Moleskins,
The Dead C,
Boredoms,
Sly & The Family Stone,
The Slackers,
Slave,
Young Marble Giants,
Teenage Jesus and the Jerks,
K-Klass,
The Durutti Column,
Jandek,
Essential Logic,
The Remains,
Loose Ends,
Neil Young & Crazy Horse,
Aaron Thompson,
Schoolly D,
Ultra Naté,
Byron Stingily,
Kool Moe Dee,
The Seeds,
Newcleus,
Derrick May,
Ronnie Foster,
Bizarre Inc.,
The Saints,
Bluetip,
Rufus Thomas,
Johnny Clarke,
Symarip,
Echo & the Bunnymen,
T. Rex,
The Golliwogs,
Wighnomy Brothers & Robag Wruhme,
Jacques Brel,
The Count Five,
Whodini,
Hoover,
The Doors,
Kool G Rap & DJ Polo,
The Misunderstood,
The Beau Brummels,
Fear,
Anthony Braxton,
Johnny Osbourne,
Robert Wyatt,
Q65,
Cabaret Voltaire,
The Fall,
the Fania All-Stars,
Lou Christie,
The Evens,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.