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 Maldives and from Beijing.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Bremen and Spokane.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Teenage Jesus and the Jerks to the crunk kids.
I played it at the Crocodile.
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 Television Personalities. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal disco 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 harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Sly & The Family Stone,
Roger Hodgson,
Bad Manners,
Marmalade,
Fela Kuti,
Nick Fraelich,
Half Japanese,
Flash Fearless,
Fatback Band,
Scan 7,
The Young Rascals,
Throbbing Gristle,
Joe Finger,
Porter Ricks,
Dorothy Ashby,
Nils Olav,
In Retrospect,
Visage,
Dead Boys,
The Doobie Brothers,
LL Cool J,
MC5,
Neu!,
Bizarre Inc.,
Hashim,
Q65,
Soft Cell,
Intrusion,
Cecil Taylor,
The Red Krayola,
The Blackbyrds,
Theoretical Girls,
Lyres,
John Cale,
Country Joe & The Fish,
Marcia Griffiths,
Bobby Womack,
Lindisfarne,
OOIOO,
Sound Behaviour,
Be Bop Deluxe,
Bobby Sherman,
Radio Birdman,
A Certain Ratio,
Liliput,
Mad Mike,
Severed Heads,
Davy DMX,
Subhumans,
Camberwell Now,
Icehouse,
Siglo XX,
Ponytail,
Yellowson,
Grandmaster Flash,
Black Bananas,
Cheater Slicks,
The Sound,
Heavy D & The Boyz,
Maurizio,
Moby Grape,
Niagra,
Mantronix, Mantronix, Mantronix, Mantronix.
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.