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 Mongolia and from Philadelphia.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Manila.
I'm losing my edge to the art-school Columbus 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar 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 Scion to the rap kids.
I played it at the Hacienda.
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 Grandmaster Flash and the Furious Five. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Aloha Tigers record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
The Misunderstood,
Boredoms,
Neu!,
UT,
The Saints,
Derrick Morgan,
Wings,
Nas,
Deakin,
The Blackbyrds,
Ludus,
Junior Murvin,
The Peanut Butter Conspiracy,
The Mojo Men,
The Fugs,
U.S. Maple,
Negative Approach,
Newcleus,
JFA,
Lindisfarne,
Dorothy Ashby,
Von Mondo,
Girls At Our Best!,
Radiopuhelimet,
Crash Course in Science,
Sex Pistols,
Todd Rundgren,
Suburban Knight,
The Zeros,
Boogie Down Productions,
Dark Day,
The Searchers,
Q65,
Agitation Free,
Scrapy,
Visage,
The Human League,
The Offenders,
The Golliwogs,
The Selecter,
Morten Harket,
Rhythim Is Rhythim,
Lungfish,
Idris Muhammad,
Funky Four + One,
Avey Tare's Slasher Flicks,
Delon & Dalcan,
Heaven 17,
Ultra Naté,
Cymande,
Echo & the Bunnymen,
Rod Modell,
AZ,
Sonny Sharrock,
Jacques Brel,
Dave Gahan,
Severed Heads,
Pulsallama,
The Smiths,
The Motions,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.