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 Tonga and from Cairo.
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 Woodstock and Bologna.
I'm losing my edge to the art-school Tehran 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 oboe 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 Qualms to the grime kids.
I played it at Trash.
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 The Associates. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Vainqueur record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blancmange,
Lebanon Hanover,
Pharoah Sanders,
Robert Hood,
Idris Muhammad,
The Durutti Column,
The Buckinghams,
Jeru the Damaja,
Avey Tare's Slasher Flicks,
8 Eyed Spy,
Lizzy Mercier Descloux,
In Retrospect,
Lindisfarne,
The Cosmic Jokers,
Groovy Waters,
Alice Coltrane,
Kenny Larkin,
Country Joe & The Fish,
Joe Smooth,
Röyhkä ja Rättö ja Lehtisalo,
Gian Franco Pienzio,
R.M.O.,
The Index,
The West Coast Pop Art Experimental Band,
The Chocolate Watch Band,
Simply Red,
Main Source,
Piero Umiliani,
Angels of Light & Akron/Family,
the Association,
Minny Pops,
Oneida,
Mandrill,
Roy Ayers,
Youth Brigade,
Soulsonic Force,
Judy Mowatt,
Scion,
Mr. Review,
Cecil Taylor,
Babytalk,
Mission of Burma,
Smog,
Tubeway Army,
Fatback Band,
La Düsseldorf,
The Monks,
Freddie Wadling,
Derrick Morgan,
Thinking Fellers Union Local 282,
Zero Boys,
The Flesh Eaters,
Peter & Gordon,
Boogie Down Productions,
Funkadelic,
Camouflage,
kango's stein massive,
Swell Maps,
Dawn Penn,
Prince Buster,
The Sisters of Mercy,
Ornette Coleman,
Skaos,
Maleditus Sound,
Organ, Organ, Organ, Organ.
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.