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 Dominican Republic and from Glasgow.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Paris.
I'm losing my edge to the art-school Woodstock 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 1978 at the first Visage practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Holger Czukay 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 Pantaleimon to the techno kids.
I played it at the Astoria.
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 Graham Central Station. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Yellowson record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Pretty Things record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
the Bar-Kays,
Bobbi Humphrey,
Louis and Bebe Barron,
Maurizio,
Glambeats Corp.,
The Vogues,
Eve St. Jones,
the Swans,
Sonny Sharrock,
Ludus,
Ronnie Foster,
Bobby Hutcherson,
Rites of Spring,
The Wake,
Nico,
The Associates,
Pole,
Aswad,
Terry Callier,
Hardrive,
Camberwell Now,
Cal Tjader,
Iggy Pop,
Inner City,
Brothers Johnson,
Sällskapet,
The Chocolate Watch Band,
Roxette,
Roger Hodgson,
The Golliwogs,
Soul II Soul,
Ultravox,
Gang Gang Dance,
Lakeside,
8 Eyed Spy,
Rowland S Howard / Lydia Lunch,
B.T. Express,
Judy Mowatt,
Rhythm & Sound,
Todd Rundgren,
Art Ensemble Of Chicago,
Archie Shepp,
Spandau Ballet,
Lindisfarne,
Bush Tetras,
Tim Buckley,
Sexual Harrassment,
The Zeros,
Rotary Connection,
Malaria!,
The Moleskins,
The Alarm Clocks,
Joy Division,
David McCallum,
Alison Limerick,
Visionaries,LMNO, T- Love & Iriscience,
The Cramps,
Interpol,
Heaven 17,
Nirvana,
Minny Pops,
Black Flag,
The Motions, The Motions, The Motions, The Motions.
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.