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 Armenia and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Houston and Halifax.
I'm losing my edge to the art-school Glasgow 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 spring reverb 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 Lee Hazlewood to the grime kids.
I played it at the Spitz.
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 Jeff Lynne. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every The Flesh Eaters 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Terry Callier,
Lou Christie,
The Durutti Column,
Swans,
Suicide,
Lizzy Mercier Descloux,
Michelle Simonal,
Unwound,
Bad Manners,
Fluxion,
Joyce Sims,
Joy Division,
Bob Dylan,
Nico,
Strawberry Alarm Clock,
Heavy D & The Boyz,
Q65,
Notorious BIG live in Amsterdam,
The Knickerbockers,
Idris Muhammad,
Flash Fearless,
The Black Dice,
Alton Ellis,
Tropical Tobacco,
Brass Construction,
Visage,
Kings Of Tomorrow,
Arcadia,
Marmalade,
Crooked Eye,
The Offenders,
Cluster,
The Men They Couldn't Hang,
Jandek,
London Community Gospel Choir,
China Crisis,
Bill Wells,
Sexual Harrassment,
The Fire Engines,
Big Daddy Kane,
Camron Feat. Memphis Bleek And Beenie Seigel,
Robert Görl,
Johnny Clarke,
Buzzcocks,
John Holt,
Sound Behaviour,
Colin Newman,
Crispian St. Peters,
Archie Shepp,
Tears for Fears,
KRS-One,
Gichy Dan,
Eve St. Jones,
Icehouse,
Barclay James Harvest,
Peter & Gordon,
cv313,
Ultravox,
Supertramp,
Mark Hollis,
The Moleskins,
the Fania All-Stars,
Severed Heads,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.