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 Tanzania and from Johannesburg.
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 1974.
I'm losing my edge.
To all the kids in Beijing and Portland.
I'm losing my edge to the art-school Mexico City 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 theremin sounds with much patience.
I was there when Nile Rodgers 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 X-102 to the disco kids.
I played it at the Troubador.
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 Alison Limerick. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every Inner City 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Mandrill,
Skaos,
ABBA,
Rahsaan Roland Kirk,
the Sonics,
Bang On A Can,
Jeff Lynne,
Idris Muhammad,
X-101,
Skriet,
John Coltrane,
Rufus Thomas,
Desert Stars,
Blancmange,
Average White Band,
Bobbi Humphrey,
Gregory Isaacs,
Thee Headcoats,
F. McDonald,
Young Marble Giants,
Rekid,
Michelle Simonal,
Royal Trux,
Morten Harket,
The West Coast Pop Art Experimental Band,
Amon Düül,
Monks,
Letta Mbulu,
Erykah Badu,
Sex Pistols,
Bootsy Collins,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Q65,
Johnny Osbourne,
Yaz,
Au Pairs,
X-102,
Kurtis Blow,
Marcia Griffiths,
Electric Light Orchestra,
PIL,
Mary Jane Girls,
Bobby Byrd,
Darondo,
the Fania All-Stars,
The Dirtbombs,
Joyce Sims,
Arcadia,
Nick Cave & The Bad Seeds,
Fear,
China Crisis,
Agitation Free,
Danielle Patucci,
Jeru the Damaja,
Radiopuhelimet,
Sarah Menescal,
Wally Richardson,
Fugazi,
Funkadelic,
Alison Limerick,
The Move,
Subhumans, Subhumans, Subhumans, Subhumans.
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.