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 Zimbabwe and from Woodstock.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Beijing.
I'm losing my edge to the art-school Cairo 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 1976 at the first Wire practice in a loft in Watford.
I was working on the güiro 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 Jandek to the grunge kids.
I played it at Trash.
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 Blues Magoos. All the underground hits.
All Altered Images tracks. I heard you have a vinyl of every Crash Course in Science 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques 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?
Q and Not U,
Spandau Ballet,
The Pop Group,
Piero Umiliani,
Curtis Mayfield,
Jacques Brel,
Radiohead,
The Vogues,
Lindisfarne,
Aswad,
Kevin Saunderson,
the Association,
Danielle Patucci,
Cal Tjader,
Yusef Lateef,
Rahsaan Roland Kirk,
Au Pairs,
The Kinks,
The Grass Roots,
Ultra Naté,
Eric B and Rakim,
Bobby Womack,
Bobby Byrd,
8 Eyed Spy,
Bang on a Can All-Stars,
Howard Jones,
John Cale,
Swell Maps,
Cecil Taylor,
Siouxsie and the Banshees,
Soulsonic Force,
Wighnomy Brothers & Robag Wruhme,
The Mighty Diamonds,
Tim Buckley,
Urselle,
Scrapy,
Sonic Youth,
Marshall Jefferson,
Gabor Szabo,
ABC,
The Music Machine,
Simply Red,
Johnny Clarke,
The Men They Couldn't Hang,
Lou Reed & John Cale,
Faust,
Warsaw,
Matthew Halsall,
Maleditus Sound,
Hashim,
The Mummies,
London Community Gospel Choir,
Section 25,
Pantytec,
Notorious BIG live in Amsterdam,
Bobby Sherman,
Deakin,
The Saints,
Monks,
Be Bop Deluxe,
The Count Five,
Cybotron,
The Happenings,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.