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 Guyana and from Milan.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1964 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Glasgow.
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 1973 at the first Television practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Captain Beefheart 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 Newcleus 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 Tomorrow. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal rap 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 güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum 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?
John Cale,
Eden Ahbez,
Terrestrial Tones,
Index,
The Tremeloes,
The Cosmic Jokers,
PIL,
Leonard Cohen,
Lindisfarne,
Electric Light Orchestra,
Pet Shop Boys,
Röyhkä ja Rättö ja Lehtisalo,
Circle Jerks,
Silicon Teens,
R.M.O.,
Amon Düül II,
Sam Rivers,
Soul Sonic Force,
Eli Mardock,
Sparks,
Theoretical Girls,
Television,
Soft Machine,
Eve St. Jones,
X-101,
Teenage Jesus and the Jerks,
Blossom Toes,
Public Enemy,
Altered Images,
Bush Tetras,
Anthony Braxton,
Robert Görl,
The Motions,
Intrusion,
the Association,
Amon Düül,
Orchestral Manoeuvres in the Dark,
Joe Smooth,
Soft Cell,
Archie Shepp,
Mandrill,
Steve Hackett,
Crime,
Nico,
The Techniques,
Motorama,
Flipper,
The Cure,
Aswad,
Gerry Rafferty,
Minny Pops,
Kauko Röyhkä ja Narttu,
Public Image Ltd.,
Don Cherry,
Gang of Four,
Grey Daturas,
Pantytec,
Joyce Sims,
Interpol,
Eurythmics,
the Bar-Kays,
Vaughan Mason & Crew,
KRS-One,
The Fall, The Fall, The Fall, The Fall.
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.