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 Uganda and from Milan.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1979.
I'm losing my edge.
To all the kids in Houston and Halifax.
I'm losing my edge to the art-school Shanghai 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 Amazonics to the grunge kids.
I played it at the Roxy.
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 Sight & Sound. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Richard Hell and the Voidoids record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
Cal Tjader,
Warsaw,
Gang of Four,
Mission of Burma,
Inner City,
Fat Boys,
Derrick May,
Siglo XX,
Richard Hell and the Voidoids,
The Slits,
The Fire Engines,
Cabaret Voltaire,
Pussy Galore,
Gil Scott-Heron & Brian Jackson,
Monolake,
Gastr Del Sol,
Subhumans,
Jesper Dahlback,
David Axelrod,
EPMD,
Faust,
The Seeds,
Whodini,
Arcadia,
Henry Cow,
Robert Wyatt,
Ultimate Spinach,
T.S.O.L.,
Gichy Dan,
Camron Feat. Memphis Bleek And Beenie Seigel,
the Soft Cell,
Roy Ayers Ubiquity,
Thinking Fellers Union Local 282,
Kaleidoscope,
Terror Squad Feat. Camron,
Sun City Girls,
Shoche,
Eli Mardock,
Faraquet,
Basic Channel,
UT,
Nick Cave & The Bad Seeds,
Grandmaster Flash and the Furious Five,
Sex Pistols,
Delon & Dalcan,
Todd Rundgren,
Reagan Youth,
Accadde A,
The West Coast Pop Art Experimental Band,
Index,
Sällskapet,
Intrusion,
Jacob Miller,
The Skatalites,
Gong,
Cheater Slicks,
Agent Orange,
The Happenings,
Kool Moe Dee,
Freddie Wadling,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.